Run: 2026-02-19-01KHTYY714A4AFRE2PPZ40TSH8

Run Details

Duration:
19.3s
Cost:
$0.008159
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 glass shattered against the floorboards, spraying amber liquid across Aurora’s worn leather boots. "Watch it, Rory!" Silas barked the command from behind the brass-railings of the bar, his hazel eyes narrowing as he swiped a greyish damp cloth over the mahogany. He didn't look up, but the silver signet ring on his right hand caught the green glow of the neon sign outside, flashing like a warning beacon. "My fault, Si. Floor’s slick." Aurora reached for a handful of napkins, kneeling to soak up the spilled whiskey. The Raven’s Nest smelled of cloves, old paper, and the damp wool of Soho's evening crowd. It was a slow Tuesday, the kind where the shadows in the corners of the room seemed to stretch and yawn, yet the air felt heavy, charged with the static of something she couldn't quite name. The door creaked. The bell didn't chime; it groaned, a rusty metal-on-metal protest that Silas always promised to oil but never did. A man stepped inside, shaking a black designer umbrella. He wore a charcoal wool overcoat that cost more than Aurora’s flat and her motorbike combined. Aurora froze, a sodden napkin clutched in her fist. The crescent-shaped scar on her left wrist throbbed, a phantom pulse she hadn't felt in years. "We’re closing in ten," Silas said, his voice a low rumble. He leaned heavily on his right leg, sparing the injured left knee. "I only need five." The voice was sandpaper on silk. Deep, smooth, but carrying a jagged edge that sliced through Aurora’s composure. She didn't look up. She kept her eyes fixed on the puddle of whiskey, watching the way the green neon light fractured in the droplets. "Evan." The name felt like a stone in her mouth. She spat it out before she could think to hold it back. The man in the charcoal coat stopped. His shoes were polished Italian leather, gleaming wickedly against the distressed wood of the floor. He didn't move for a long moment, the silence between them stretching until it threatened to snap. "Laila?" "Don't call me that. You know better." Aurora stood up, her black shoulder-length hair falling forward to shroud her face. She dropped the wet napkins into a bin and finally met his gaze. Evan looked older, though not in the way men usually did. He hadn't softened. The jagged edges of the boy she’d fled in Cardiff had been honed into something sharper, professional, and vastly more dangerous. His eyes, once frantic and wild, were now cold glass. "You look different," Evan said. He moved toward the bar, ignoring Silas entirely. "The hair. The clothes. You look like you’re trying to disappear." "I did vanish. For three years." "London’s a small city for people who don't want to be found." Silas cleared his throat, a sharp, guttural sound. He set a glass on the bar—clean, empty, and pointedly waiting. "The lady asked you not to use that name." Silas spoke with the quiet authority of a man who had seen bodies dropped into the Vltava and finished his lunch. "And I don't care much for people who loom." Evan glanced at Silas, a flicker of irritation crossing his handsome, groomed face. He dismissed the older man as a mere publican, a mistake Aurora knew would be his last if he pushed. "This is private, grandad." "Funny. This is my bar. Nothing here is private unless I say so." Aurora stepped into the light, her bright blue eyes hard. "It’s fine, Silas. He was just leaving." "I'm not," Evan said. He reached out as if to touch her arm, but Aurora flinched back, her hand instinctively finding the heavy iron bottle opener she kept in her apron pocket. He noticed. His hand hovered in the air, a pale, useless thing, before he dropped it. "I saw Eva. She told me you were in Soho. She told me you were happy." "Eva’s a lid that leaks. I’ll have to fix that." "She’s worried about you, Rory. We all are. Your father—" "Don't you dare bring Brendan into this. You lost the right to speak his name the night you broke my ribs." The air in the Raven’s Nest grew cold. A couple in a booth near the back suddenly found their coats and scurried out, the tension in the room reaching a boiling point. Silas didn't move, but his hand had disappeared beneath the bar. Aurora knew the short-barreled shotgun lived right next to the lemons. Evan sighed, a sound of practiced disappointment. "I was a different person then. We were kids. We were volatile." "You were a monster. I was a victim. There's a difference in the vocabulary, Evan. I suggest you learn it." "Look at you." Evan gestured to her damp delivery uniform, the Golden Empress logo peeling on her chest. "Pre-Law at Cardiff. You were going to be a barrister. You were going to change things. Now you’re delivering cold noodles and scrubbing floors for a man with a limp." "I'm free," Aurora whispered. "I've never been more successful." Evan laughed, a short, sharp bark that lacked any real mirth. He leaned against the bar, his movements fluid and arrogant. "You're hiding. This isn't a life, it's a bunker. How long can you stay underground before the air turns sour?" "As long as it takes for the world to forget you exist." "I've changed, Aurora. I'm in private equity now. I have a firm. I have a life that would have suited the woman you were meant to be." Aurora walked closer to him, stopping only when she could smell his expensive cologne—sandalwood and arrogance. She looked at his hands. Manicured. Soft. No scars. "The woman I was meant to be died in that flat in Cardiff," she said, her voice steady and devoid of the tremors that used to haunt her. "The woman standing here is someone you don't know. You have no leverage here. You have no power." "I have your address." The silence returned, but this time it was different. It wasn't the heavy weight of regret; it was the cold, hollow ring of a threat. Silas stepped around the bar. He didn't rush. He moved with a slow, deliberate cadence, his slight limp adding a rhythmic thud to his footsteps. He stood six-foot-one, a mountain of grey-streaked auburn hair and quiet menace. He placed a hand on the silver signet ring on his finger and turned it once. "Address?" Silas asked, his hazel eyes fixed on Evan’s throat. "I’m talking to my friend." Evan’s bravado wavered, just for a second. "You aren't," Silas replied. "You're trespassing on my patience. And my patience is an extremely expensive commodity." "You don't know who I am." "I know exactly who you are," Silas said, his voice dropping to a whisper that seemed to vibrate in the floorboards. "You're Evan Vance. You live in a penthouse in Chelsea. You've got three offshore accounts that the Inland Revenue would love to hear about, and you’ve got a very nasty habit of hitting things that can't hit back." Evan’s face drained of color. The polished, successful man began to peel away, revealing the hollow, frightened boy underneath. "How do you—" "I was a spymaster when you were still wetting the bed, son. I know the color of your socks before you put them on." Silas leaned in close, his breath smelling of peppermint and tobacco. "If you ever mention her address again, or if I see your shadow within three postcodes of this bar, I won't call the police. That would be too civilised." Aurora watched the transition. Evan, the man who had loomed over her life like a thunderstorm for years, was suddenly small. He looked at her, searching for the fear he used to nourish himself with, but he found only a cold, clinical curiosity. "You're with him?" Evan asked, his voice cracking. "A bartender?" "I'm with myself," Aurora said. "For the first time in my life. Get out, Evan. Go back to your glass tower. Don't look back." Evan gripped his umbrella handle so hard his knuckles turned white. He looked at Aurora, then at Silas, and then at the dark, map-covered walls of the Raven’s Nest. He realized he didn't belong here. He was a creature of bright lights and thin veneers. Here, in the shadows, the rules were different. He turned on his heel and marched toward the door. He didn't look back as he pushed through the heavy oak entrance, disappearing into the Soho rain. Aurora exhaled, a long, shaky breath that seemed to carry the weight of three years with it. She slumped against the bar, her legs suddenly feeling like water. "You okay, Rory?" Silas asked, his voice returning to its usual gruff warmth. "Yeah. I think so." She looked at her wrist, at the crescent scar. It had stopped throbbed. "How did you know all that about him?" Silas smiled, a rare, thin line that didn't reach his eyes. "I didn't. I guessed the Chelsea part based on the shoes. The offshore accounts were a safe bet for a man in private equity. The rest... well, a man's character is written on his face if you know how to read the font." He reached under the bar and pulled out a bottle of the good stuff—the top-shelf rye they saved for regulars. He poured two fingers into a clean glass and pushed it toward her. "Drink that. Then go upstairs and lock the door." "I can finish the floors, Silas." "The floors are fine. Go on." Aurora took the glass, the liquid burning her throat in a way that felt like grounding. She started toward the bookshelf in the back, the one that masked the stairs to her flat. The Raven’s Nest felt smaller now, safer, but the air was still thick. She reached the bookshelf and pulled the hidden lever. As the heavy wood swung open, the green neon light from the front window flickered and died. "Silas?" she called out into the sudden darkness. No answer came. A heavy thud echoed from the front of the bar, followed by the sound of glass shattering—not a glass this time, but the great plate-window facing the street. Aurora spun around, her heart hammering against her ribs. Through the jagged hole in the front of the bar, a brick lay on the floor, wrapped in a white piece of paper. Beyond it, in the rain, a black car sat idling, its headlights cutting through the dark like the eyes of a predator. Silas was already moving, his hand going for the back of his waistband, but he wasn't looking at the car. He was looking at the back door. "Rory, don't go upstairs!" Silas yelled, his voice cracking with an urgency she’d never heard. The back door kicked open, the wood splintering off the hinges. Three men in grey hoodies flooded the room, their faces obscured, their hands filled with heavy, silenced pistols. One of them pointed his weapon directly at the bookshelf where Aurora stood. "Found her," the man said. The first shot hissed through the air, punching a hole into the map of the world right next to Aurora’s head.
created_at"2026-02-19T12:45:30.542Z" 2/19/2026, 12:45:30 PM
model"google/gemini-3-flash-preview-20251217"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency929
moderation_latency(null)
generation_time19260
tokens_prompt4618
tokens_completion2791
native_tokens_prompt4497
native_tokens_completion2580
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4065
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"
usage0.00815925
router(null)
provider_responses
0
endpoint_id"6e82f652-2693-4b60-bbe0-7362d6e345f0"
is_byokfalse
latency928
model_permaslug"google/gemini-3-flash-preview-20251217"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771505130-HDxQwWCDi4hX6lxQhL8W"
upstream_id(null)
total_cost0.00815925
cache_discount0.00182925
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
totalTags19
adverbTagCount1
adverbTags
0"Evan’s bravado wavered just [just]"
dialogueSentences57
tagDensity0.333
leniency0.667
rawRatio0.053
effectiveRatio0.035
86.77% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1890
totalAiIsmAdverbs5
found
0
adverb"wickedly"
count1
1
adverb"suddenly"
count3
2
adverb"very"
count1
highlights
0"wickedly"
1"suddenly"
2"very"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
36.51% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1890
totalAiIsms24
found
0
word"shattered"
count1
1
word"beacon"
count1
2
word"charged"
count1
3
word"throbbed"
count2
4
word"pulse"
count1
5
word"silk"
count1
6
word"fractured"
count1
7
word"gleaming"
count1
8
word"silence"
count2
9
word"flicker"
count1
10
word"tension"
count1
11
word"weight"
count2
12
word"rhythmic"
count1
13
word"footsteps"
count1
14
word"wavered"
count1
15
word"whisper"
count1
16
word"loomed"
count1
17
word"warmth"
count1
18
word"flickered"
count1
19
word"echoed"
count1
20
word"predator"
count1
highlights
0"shattered"
1"beacon"
2"charged"
3"throbbed"
4"pulse"
5"silk"
6"fractured"
7"gleaming"
8"silence"
9"flicker"
10"tension"
11"weight"
12"rhythmic"
13"footsteps"
14"wavered"
15"whisper"
16"loomed"
17"warmth"
18"flickered"
19"echoed"
20"predator"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"knuckles turned white"
count1
highlights
0"knuckles turned white"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences109
matches(empty)
77.33% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences109
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
2"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences147
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1873
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions22
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1309
uniqueNames12
maxNameDensity1.53
worstName"Aurora"
maxWindowNameDensity3
worstWindowName"Aurora"
discoveredNames
Aurora20
Raven4
Nest4
Soho2
Tuesday1
Silas18
Italian1
Cardiff1
Vltava1
Evan13
Golden1
Empress1
persons
0"Aurora"
1"Raven"
2"Nest"
3"Silas"
4"Evan"
places
0"Soho"
1"Cardiff"
2"Vltava"
globalScore0.736
windowScore0.667
7.95% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences88
glossingSentenceCount5
matches
0"quite name"
1"felt like a stone in her mouth"
2"whisper that seemed to vibrate in the floorboards"
3"breath that seemed to carry the weight of three years with it"
4"felt like grounding"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.534
wordCount1873
matches
0"not a glass this time, but the great plate-window facing the street"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences147
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs76
mean24.64
std17.67
cv0.717
sampleLengths
014
13
252
35
466
547
625
723
84
943
101
1121
1239
131
147
1526
1645
1724
186
1912
2019
2139
2233
234
2413
2517
2664
2710
2810
2921
3054
3119
3220
3348
349
3521
3620
3712
3827
3925
4046
414
4225
4353
4410
4512
4617
476
4859
4919
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences109
matches
0"been honed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs226
matches
0"wasn't looking"
1"was looking"
26.24% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount2
flaggedSentences6
totalSentences147
ratio0.041
matches
0"The bell didn't chime; it groaned, a rusty metal-on-metal protest that Silas always promised to oil but never did."
1"He set a glass on the bar—clean, empty, and pointedly waiting."
2"Aurora walked closer to him, stopping only when she could smell his expensive cologne—sandalwood and arrogance."
3"It wasn't the heavy weight of regret; it was the cold, hollow ring of a threat."
4"He reached under the bar and pulled out a bottle of the good stuff—the top-shelf rye they saved for regulars."
5"A heavy thud echoed from the front of the bar, followed by the sound of glass shattering—not a glass this time, but the great plate-window facing the street."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1325
adjectiveStacks0
stackExamples(empty)
adverbCount38
adverbRatio0.028679245283018868
lyAdverbCount14
lyAdverbRatio0.010566037735849057
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences147
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences147
mean12.74
std8.07
cv0.633
sampleLengths
014
13
225
327
45
514
616
736
83
919
109
1116
129
1316
1411
1512
164
176
1812
194
2021
211
229
2312
247
2515
2617
271
287
2913
3013
3111
323
3321
3410
355
368
3711
386
3912
408
4111
4230
439
4413
4520
464
4713
4810
497
40.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2789115646258503
totalSentences147
uniqueOpeners41
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences100
matches(empty)
ratio0
60.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences100
matches
0"He didn't look up, but"
1"It was a slow Tuesday,"
2"He wore a charcoal wool"
3"He leaned heavily on his"
4"She didn't look up."
5"She kept her eyes fixed"
6"She spat it out before"
7"His shoes were polished Italian"
8"He didn't move for a"
9"She dropped the wet napkins"
10"He hadn't softened."
11"His eyes, once frantic and"
12"He moved toward the bar,"
13"He set a glass on"
14"He dismissed the older man"
15"He reached out as if"
16"His hand hovered in the"
17"He leaned against the bar,"
18"She looked at his hands."
19"she said, her voice steady"
ratio0.4
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount93
totalSentences100
matches
0"The glass shattered against the"
1"Silas barked the command from"
2"He didn't look up, but"
3"Aurora reached for a handful"
4"The Raven’s Nest smelled of"
5"It was a slow Tuesday,"
6"The door creaked."
7"The bell didn't chime; it"
8"A man stepped inside, shaking"
9"He wore a charcoal wool"
10"Aurora froze, a sodden napkin"
11"The crescent-shaped scar on her"
12"Silas said, his voice a"
13"He leaned heavily on his"
14"The voice was sandpaper on"
15"She didn't look up."
16"She kept her eyes fixed"
17"The name felt like a"
18"She spat it out before"
19"The man in the charcoal"
ratio0.93
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences100
matches(empty)
ratio0
84.31% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount5
matches
0"He wore a charcoal wool overcoat that cost more than Aurora’s flat and her motorbike combined."
1"Deep, smooth, but carrying a jagged edge that sliced through Aurora’s composure."
2"He reached out as if to touch her arm, but Aurora flinched back, her hand instinctively finding the heavy iron bottle opener she kept in her apron pocket."
3"Beyond it, in the rain, a black car sat idling, its headlights cutting through the dark like the eyes of a predator."
4"Silas was already moving, his hand going for the back of his waistband, but he wasn't looking at the car."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount6
matches
0"Silas said, his voice a low rumble"
1"Silas asked, his hazel eyes fixed on Evan’s throat"
2"Silas leaned, his breath smelling of peppermint and tobacco"
3"Evan asked, his voice cracking"
4"Silas asked, his voice returning to its usual gruff warmth"
5"Silas yelled, his voice cracking with an urgency she’d never heard"
97.37% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount3
fancyTags
0"Silas spoke (speak)"
1"Aurora whispered (whisper)"
2"Silas yelled (yell)"
dialogueSentences57
tagDensity0.246
leniency0.491
rawRatio0.214
effectiveRatio0.105
72.7874%