Run: 2026-02-19-01KHTYW4N4KZDXX5EE18RVRPC9

Run Details

Duration:
38.6s
Cost:
$0.042321
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The tumbler felt heavy in her hand, the ice within it a slow, deliberate metronome against the glass. Silas slid a bowl of olives across the polished mahogany, his movement economical, silent. He did not look at her, his attention fixed on a smudge on a nearby tap, but she felt his gaze all the same. It was a weight she had become accustomed to, like the low ceiling of the bar or the scent of rain-soaked London that clung to the coats by the door. “Heard from your father?” Rory swirled the amber liquid, watching the light refract. “He sent a book. Tort law.” Silas grunted, a sound that could mean anything from sympathy to derision. He buffed the tap with a clean cloth, his silver signet ring a dull flash in the dim light. A voice cut through the comfortable quiet, sharp and bright and so achingly familiar it felt like a phantom limb twitching. “Oh my God. Rory? Aurora Carter?” Rory’s grip tightened on the glass. She turned slowly on the stool, a carefully constructed fortress crumbling brick by brick with each turn. The woman standing there was a stranger in a familiar shell. Her hair, once a chaotic mane of honey-blonde curls, was now straightened into a severe, immaculate blonde bob. She wore a stone-grey cashmere coat that probably cost more than Rory’s monthly rent, and her shoes made a soft, expensive clicking sound on the worn floorboards. But the eyes were the same. A startling, pale blue, wide with a surprise that looked almost genuine. “Chloe?” The woman, Chloe, beamed, her smile a perfect, white slash. “I knew it! I saw the hair and thought, no, it couldn’t be. What are you doing here?” She strode forward, enveloping Rory in a hug that smelled of citrus perfume and money. Rory remained stiff, her hands hovering awkwardly before falling back to her sides. Chloe pulled back, holding Rory at arm’s length. Her gaze swept over Rory’s worn jeans, her faded band t-shirt, the delivery jacket slung over the back of the stool. Her smile didn’t falter, but something in her eyes tightened. “You look… exactly the same.” It was not a compliment. “You don’t,” Rory said. The words came out flatter than she intended. She motioned to the bar. “Drink?” “Oh, I can’t. I’m meeting my fiancé’s parents in Knightsbridge.” The words were dropped casually, a string of pearls onto a chequerboard. “I just ducked in here to escape the drizzle. What a funny little place.” Her gaze flickered around The Raven’s Nest, over the yellowed maps and the framed black-and-white photographs of forgotten spies, her expression a polite mask of mild curiosity. It was the look one gave a museum exhibit just before moving on to the next. Silas placed a small glass of sparkling water with a slice of lemon on the bar in front of Chloe, unasked. His limp was more pronounced as he moved away to serve a new customer at the far end of the bar. Chloe ignored the water. “So what are you up to? Still in law? I remember your dad saying you were top of your class.” Rory took a slow sip of her whisky. The burn was a familiar friend. “Not anymore. I left.” “Left?” Chloe’s perfectly sculpted eyebrows rose. “But you were so close. Why?” She knew why. She had to know. The question hung in the air between them, thick and cloying. Rory thought of late-night phone calls, tear-choked whispers, a split lip she’d hidden with concealer for a week. Chloe had been her confidante then, the one who smuggled her out of Cardiff in her beat-up Ford Fiesta. “It wasn’t for me,” Rory said, turning back to her drink. “I’m a delivery rider. For the Golden Empress, over on Gerrard Street.” The silence that followed stretched, thin and tight. Rory could feel Chloe recalibrating, adjusting her image of the girl she once knew. The brilliant, fierce Rory Carter who was going to be a barrister, now delivering sweet and sour pork on a moped. “Oh,” Chloe said, the single syllable loaded with a universe of pity. “Well. That’s… flexible.” She fiddled with the strap of her leather handbag. “Did you ever finish your degree?” “Does it matter?” “I just mean, all that work…” Chloe trailed off, picking up the glass of water and staring into it as if it held some profound answer. “It’s been, what, three years? I worried, you know. After you just vanished. Eva said you were in London but…” “But you never called.” Chloe flinched. A crack in the porcelain veneer. “Things got complicated, Rory. You know how it is. Evan was… well, he was a mess after you left. Everyone took sides.” The name landed on the bar between them, ugly and visceral. Evan. Rory felt a cold knot form in her stomach. She could almost feel the phantom ache in her wrist, near the small crescent-shaped scar. “I’m sure he was,” Rory said. “He’s changed, you know.” Chloe said it quickly, as though rushing to defend him. “He really has. Went to therapy. Stopped drinking so much. He even asked about you, a few months ago.” Rory said nothing. She stared at Silas, who was expertly wiping the inside of a pint glass, his back to them but his posture radiating an alert stillness. He knew. He didn’t know the details, but he knew the shape of her ghosts. “He’s with someone now,” Chloe continued, her voice softer, conspiratorial. “Sarah Jenkins. Remember her from school? The quiet one.” “Good for him.” The words tasted like ash. Rory drained her glass, the ice clattering against her teeth. She motioned to Silas for another. “You’re still so angry,” Chloe sighed, a performance of weary wisdom. “I just think, sometimes, you have to let things go. We were all so young.” “Were we?” Rory finally turned to face her fully, the bar’s dim light carving sharp angles into her face. “Because I remember feeling ancient.” Chloe looked away, her gaze catching on the green neon of the bar's sign reflected in the dark window. The reflection showed a ghost of a girl in an expensive coat, standing next to a ghost of a girl in a worn jacket. Worlds apart, joined by a history that felt like a chain. “I have to go,” Chloe said, her tone suddenly brisk. She placed a hand on Rory’s arm. Her skin was cool, her nails perfectly manicured. “It was… it was really good to see you, Rory.” “Was it?” The question caught Chloe off guard. She pulled her hand back. “Yes. Of course. We should get coffee. Properly catch up.” She was already backing away, her promise as empty as the glass in Rory’s hand. “Chloe.” She stopped, halfway to the door. “You said he’s with Sarah Jenkins now,” Rory said, her voice dangerously level. “You must be happy for them. Being her maid of honour and all.” Chloe’s face went white. She opened her mouth, but no sound came out. Her phone buzzed in her coat pocket, a frantic, muffled sound. She ignored it. “How did you…?” “It was announced in the Times,” Rory said, her bright blue eyes holding Chloe’s. “Engagement notices. My parents still send me the clippings. Funny, isn’t it? The things people think you’ll find interesting.” The poise, the cashmere coat, the perfect hair, it all seemed to fall away, leaving behind the scared, conflicted girl Rory remembered. The girl who always chose the easier path. “He loves her,” Chloe whispered, a desperate plea. “I’m sure he does.” Chloe fumbled in her handbag, her movements jerky and graceless. She pulled out her phone, her thumb swiping frantically across the screen. “Look.” She thrust the phone towards Rory, the screen a blaze of manufactured joy. “They’re happy.” Rory looked down. It was a professional photograph, taken in a sun-drenched park. Evan, his arm possessively around a smiling, blushing Sarah Jenkins. And next to them, beaming, her hand linked with Sarah’s, was Chloe. They were a perfect quartet. Polished, successful, happy. Two perfect couples, their futures laid out before them like a pristine tablecloth. Evan’s eyes, the same eyes that had once watched her with a terrifying intensity, were smiling at the camera. He was wearing the watch she had bought him for his twenty-first birthday.
created_at"2026-02-19T12:44:22.572Z" 2/19/2026, 12:44:22 PM
model"google/gemini-2.5-pro"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2727
moderation_latency(null)
generation_time38551
tokens_prompt4618
tokens_completion3049
native_tokens_prompt4497
native_tokens_completion3670
native_tokens_completion_images0
native_tokens_reasoning1756
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
usage0.04232125
router(null)
provider_responses
0
endpoint_id"b261d15b-95ce-4c8c-8bce-00eb0dc1ff77"
is_byokfalse
latency2727
model_permaslug"google/gemini-2.5-pro"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771505062-pHml3X8IkxqMgL0VPiHD"
upstream_id(null)
total_cost0.04232125
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount2
adverbTags
0"Her gaze flickered around [around]"
1"The words tasted like [like]"
dialogueSentences48
tagDensity0.375
leniency0.75
rawRatio0.111
effectiveRatio0.083
71.55% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1406
totalAiIsmAdverbs8
found
0
adverb"slowly"
count1
1
adverb"carefully"
count1
2
adverb"perfectly"
count2
3
adverb"quickly"
count1
4
adverb"really"
count2
5
adverb"suddenly"
count1
highlights
0"slowly"
1"carefully"
2"perfectly"
3"quickly"
4"really"
5"suddenly"
80.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found
0"Sarah"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
32.43% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1406
totalAiIsms19
found
0
word"weight"
count1
1
word"comfortable"
count1
2
word"familiar"
count3
3
word"constructed"
count1
4
word"chaotic"
count1
5
word"perfect"
count4
6
word"flickered"
count1
7
word"silence"
count1
8
word"could feel"
count1
9
word"profound"
count1
10
word"porcelain"
count1
11
word"stomach"
count1
12
word"pristine"
count1
13
word"intensity"
count1
highlights
0"weight"
1"comfortable"
2"familiar"
3"constructed"
4"chaotic"
5"perfect"
6"flickered"
7"silence"
8"could feel"
9"profound"
10"porcelain"
11"stomach"
12"pristine"
13"intensity"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences95
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences95
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences122
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1395
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
32.30% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions64
wordCount1062
uniqueNames13
maxNameDensity2.35
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Chloe"
discoveredNames
London1
Rory25
Chloe21
Raven1
Nest1
Cardiff1
Ford1
Fiesta1
Carter1
Silas5
Sarah2
Jenkins1
Evan3
persons
0"Rory"
1"Chloe"
2"Raven"
3"Carter"
4"Silas"
5"Sarah"
6"Jenkins"
7"Evan"
places
0"London"
1"Cardiff"
globalScore0.323
windowScore0.333
50.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount3
matches
0"felt like a phantom limb twitching"
1"as though rushing to defend him"
2"felt like a chain"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1395
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences122
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean28.47
std23.25
cv0.817
sampleLengths
086
14
215
331
421
56
697
71
856
944
105
1118
1279
1342
1424
1518
1612
1755
1823
1943
2030
213
2246
234
2430
2536
266
2733
2843
2919
3024
3126
3224
3354
3435
352
3636
371
386
3926
4027
413
4233
4330
448
454
4622
4716
4888
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences95
matches
0"were dropped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs163
matches
0"were smiling"
1"was wearing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences122
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1073
adjectiveStacks1
stackExamples
0"small crescent-shaped scar."
adverbCount41
adverbRatio0.03821062441752097
lyAdverbCount18
lyAdverbRatio0.016775396085740912
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences122
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences122
mean11.43
std7.54
cv0.66
sampleLengths
018
114
224
330
44
59
66
712
819
921
106
116
1217
1311
1418
1527
166
1712
181
1910
2033
2113
228
2321
2410
255
265
274
288
295
301
3122
3241
3316
3421
3521
364
3720
388
396
404
416
426
433
444
4511
4618
4719
4811
4912
46.17% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.3114754098360656
totalSentences122
uniqueOpeners38
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences90
matches(empty)
ratio0
68.89% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences90
matches
0"He did not look at"
1"It was a weight she"
2"He buffed the tap with"
3"She turned slowly on the"
4"Her hair, once a chaotic"
5"She wore a stone-grey cashmere"
6"She strode forward, enveloping Rory"
7"Her gaze swept over Rory’s"
8"Her smile didn’t falter, but"
9"It was not a compliment."
10"She motioned to the bar."
11"Her gaze flickered around The"
12"It was the look one"
13"His limp was more pronounced"
14"She knew why."
15"She had to know."
16"She fiddled with the strap"
17"She could almost feel the"
18"She stared at Silas, who"
19"He didn’t know the details,"
ratio0.378
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount86
totalSentences90
matches
0"The tumbler felt heavy in"
1"Silas slid a bowl of"
2"He did not look at"
3"It was a weight she"
4"Rory swirled the amber liquid,"
5"Silas grunted, a sound that"
6"He buffed the tap with"
7"A voice cut through the"
8"Rory’s grip tightened on the"
9"She turned slowly on the"
10"The woman standing there was"
11"Her hair, once a chaotic"
12"She wore a stone-grey cashmere"
13"A startling, pale blue, wide"
14"The woman, Chloe, beamed, her"
15"She strode forward, enveloping Rory"
16"Rory remained stiff, her hands"
17"Chloe pulled back, holding Rory"
18"Her gaze swept over Rory’s"
19"Her smile didn’t falter, but"
ratio0.956
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences90
matches(empty)
ratio0
40.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount6
matches
0"It was a weight she had become accustomed to, like the low ceiling of the bar or the scent of rain-soaked London that clung to the coats by the door."
1"A startling, pale blue, wide with a surprise that looked almost genuine."
2"Rory remained stiff, her hands hovering awkwardly before falling back to her sides."
3"The brilliant, fierce Rory Carter who was going to be a barrister, now delivering sweet and sour pork on a moped."
4"She stared at Silas, who was expertly wiping the inside of a pint glass, his back to them but his posture radiating an alert stillness."
5"Evan’s eyes, the same eyes that had once watched her with a terrifying intensity, were smiling at the camera."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount6
matches
0"Chloe said, as though rushing to defend him"
1"Chloe continued, her voice softer, conspiratorial"
2"Chloe sighed, a performance of weary wisdom"
3"Chloe said, her tone suddenly brisk"
4"Rory said, her voice dangerously level"
5"She thrust, the screen a blaze of manufactured joy"
87.50% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount3
fancyTags
0"Chloe continued (continue)"
1"Chloe sighed (sigh)"
2"Chloe whispered (whisper)"
dialogueSentences48
tagDensity0.229
leniency0.458
rawRatio0.273
effectiveRatio0.125
73.4554%