Run: 2026-02-20-01KHY7HH4X2XNFYD6WQZ2N3NMN

Run Details

Duration:
22.7s
Cost:
$0.000327
Provider:
DeepInfra

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 rain hammered against the windows of The Raven’s Nest, a ragged tattoo against the muted blues and greys of the Soho night. It wasn’t a gentle rain, the kind that washed the grime off pavements and left a scent of damp earth. This was a bruised rain, thick with the metallic tang of something darker, and it clung to the narrow streets like a guilty secret. Silas Blackwood, perched on a stool at the far end of the bar, nursed a single malt that had seen better decades, his hazel eyes reflecting the flickering neon sign – a distinctive green raven’s head above the entrance – with a weary stillness. He’d been polishing the rim of his glass with a silk handkerchief, the kind that smelled faintly of sandalwood and regret, for a good twenty minutes, and hadn't spoken to a soul. Not since the last busker had shuffled out, defeated by the downpour and the inevitable small change tossed into his battered guitar case. Then the door opened, a sudden, sharp breach in the bar’s gloom, and Aurora Carter walked in. It wasn’t a hesitant entrance, not a careful, assessing scan of the room. She moved with a disconcerting directness, a practiced economy of motion that hinted at a past filled with far more urgency than her current, almost detached pose suggested. She was tall, still, though the black hair that had tumbled down her back as a girl had been pulled back into a severe, sleek braid, revealing the sharp angle of her jaw and the bright blue intensity of her eyes. Those eyes, even across the room, held a flicker of something unreadable, something that simultaneously intrigued and unsettled Silas. The small crescent-shaped scar on her left wrist, a pale ghost beneath the cuff of her dark wool coat, was subtly visible – a reminder of a childhood accident, a whisper of vulnerability in a woman who looked like she'd been forged in granite. She paused, taking in the room, the redolent mix of aged whiskey, stale cigarettes, and faded leather. Her gaze lingered on Silas, a flicker of recognition, almost painful in its suddenness. Then she moved towards the bar, stopping a few feet away. “Silas,” she said, her voice a low, controlled timbre, devoid of any warmth. It wasn’t a question. It was a statement of fact, delivered with the cool precision of a trained operative. He didn't startle. He simply raised his glass slightly, a gesture of acknowledgement, and took a slow, deliberate sip. “Aurora. Last time I checked, you weren’t supposed to be here.” “Perhaps I’ve been… reassigned,” she replied, sliding onto the stool beside him. The leather creaked beneath her weight, a small, brittle sound that was swallowed by the din of the rain. She didn't offer a smile, didn't attempt any of the familiar pleasantries they’d once shared. There was only a stark, unsettling formality in her demeanor. “I’d heard you’d opened a bar.” “It’s a front,” he said, his voice gravelly, each word carefully enunciated. “A comfortable one. Keeps the shadows at bay.” He gestured vaguely around the room. “Doesn’t always work, of course.” “Some shadows are easier to track than others,” she observed, her eyes fixed on the amber liquid swirling in her glass. “I’ve learned that over the years.” A silence descended, thick and heavy with unspoken history. It wasn't a comfortable silence; it was the kind that followed a confrontation, the quiet aftermath of a long-standing grievance. Silas studied her, dissecting her appearance, searching for clues as to how she’d become this… polished version of the girl he’d known. The girl who used to laugh until her sides ached, the girl who’d climbed trees with reckless abandon, the girl who’d held his hand during thunderstorms. “You look… well,” he finally said, the word sounding strained, almost hesitant. “Different.” “Life has a way of doing that,” she replied, her voice flat. “It smooths the edges. Polishes the surfaces.” She paused, swirling the whiskey in her glass again. “It strips away the unnecessary.” “Some things are worth keeping stripped away,” Silas murmured, taking another sip of his drink. “Like memories.” Her gaze shifted, a brief, almost imperceptible flicker of… something. Pity? Regret? It vanished as quickly as it appeared. “Memories are unreliable,” she stated simply. “Often distorted by emotion. I prefer to operate on facts.” “Facts are rarely the whole story,” Silas countered, his voice gaining a slight edge. “Especially when they’re presented without context.” He glanced around the bar, as if searching for an escape. “So, what brings you to Soho, Aurora? After all this time?” She didn’t answer immediately. She simply continued to observe the rain, her expression unreadable. “I needed a place to disappear,” she finally said. “And you, Silas, are exceptionally good at providing that service.” “Disappearing isn’t always a solution,” he said, meeting her gaze directly. “It just postpones the reckoning.” “Perhaps,” she conceded, a hint of steel creeping into her voice. “But sometimes, a little postponement is all one can afford.” She paused, a subtle shift in her posture, a tightening of her jaw. “I heard Evan’s gone.” The words hung in the air, sharp and precise, a carefully aimed dart at a particularly sensitive area. Silas’s hand tightened around his glass, the knuckles turning white. He remained silent, his face a mask of controlled emotion. “He wasn't a good man,” she continued, her voice low and steady. “You know that.” “I know he was a complication,” Silas acknowledged, his gaze fixed on the flickering neon sign. “A painful one.” “Complications have a tendency to fester,” she said, leaning slightly closer. “They can poison everything they touch.” She took a long sip of her whiskey, the ice clinking softly against the glass. “I've spent the last ten years trying to clear the infection.” “And how’s that going?” Silas asked, his voice carefully neutral. “It’s… intricate,” she replied, her eyes darting around the room, as if assessing the potential threats. “There are layers. A lot of layers. And some of them are very, very deep.” He noticed the subtle tremor in her hand as she lifted her glass. Beneath the polished exterior, beneath the carefully constructed composure, there was a vulnerability he hadn’t anticipated. A ghost of the girl he’d known, haunted by something she’d tried desperately to bury. “You’ve become quite efficient, Aurora,” he observed, a flicker of something akin to admiration in his eyes. “I didn't realize you had it in you.” “I learned a few things in the shadows,” she replied, her voice hardening again. “Survival requires adaptability. The ability to shed your skin.” “And what have you shed, exactly?” he asked, his voice barely a whisper. She hesitated, her gaze dropping to her glass. “Pain,” she said finally, her voice tight. “Regret. The knowledge that some choices… cannot be undone.” The rain intensified, drumming against the windows with renewed urgency. Silas reached across the table and placed his hand briefly on hers, a fleeting, almost hesitant touch. She didn’t pull away. "It's a heavy burden," he said quietly. “It is,” she agreed, her eyes meeting his for a moment, a shared acknowledgement of the darkness they both carried. “But I’ve grown accustomed to it." Suddenly, a commotion erupted near the door. A young man, drenched and breathless, burst into the bar, frantically gesturing towards the street. “They’re here! They’ve found him!” he shouted, his voice hoarse with panic. “They’re coming for the package!” Silas straightened up, his hand instinctively reaching for a small, silver signet ring worn on his right hand. His eyes narrowed, assessing the situation. Aurora's hand tightened on her glass, a subtle signal of readiness. The rain continued to fall, and the shadows in The Raven’s Nest seemed to deepen. “Looks like our little disappearing act just got a lot more complicated,” Silas said, a grim smile playing on his lips. “And I have a feeling you're exactly who I need right now.”
created_at"2026-02-20T19:13:35.413Z" 2/20/2026, 7:13:35 PM
model"google/gemma-3-4b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency376
moderation_latency(null)
generation_time22537
tokens_prompt4642
tokens_completion2170
native_tokens_prompt4505
native_tokens_completion1840
native_tokens_completion_images(null)
native_tokens_reasoning0
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"
usage0.0003274
router(null)
provider_responses
0
endpoint_id"d3de3bd4-81bc-48fb-924f-2a87b2a36e75"
id"chatcmpl-RqrBTJyUWUKd9QbqyMdmqzX5"
is_byokfalse
latency94
model_permaslug"google/gemma-3-4b-it"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771614815-2fn0wYU0rPpIybVzn8CU"
upstream_id"chatcmpl-RqrBTJyUWUKd9QbqyMdmqzX5"
total_cost0.0003274
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags29
adverbTagCount6
adverbTags
0"He gestured vaguely [vaguely]"
1"he finally said [finally]"
2"she stated simply [simply]"
3"He glanced around [around]"
4"she said finally [finally]"
5"he said quietly [quietly]"
dialogueSentences52
tagDensity0.558
leniency1
rawRatio0.207
effectiveRatio0.207
58.52% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1326
totalAiIsmAdverbs11
found
0
adverb"slightly"
count2
1
adverb"carefully"
count4
2
adverb"quickly"
count1
3
adverb"softly"
count1
4
adverb"very"
count2
5
adverb"suddenly"
count1
highlights
0"slightly"
1"carefully"
2"quickly"
3"softly"
4"very"
5"suddenly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1326
totalAiIsms28
found
0
word"silk"
count1
1
word"gloom"
count1
2
word"intensity"
count1
3
word"flicker"
count4
4
word"unreadable"
count2
5
word"unsettled"
count1
6
word"reminder"
count1
7
word"whisper"
count2
8
word"warmth"
count1
9
word"weight"
count1
10
word"familiar"
count1
11
word"stark"
count1
12
word"comfortable"
count2
13
word"silence"
count2
14
word"unspoken"
count1
15
word"aftermath"
count1
16
word"intricate"
count1
17
word"potential"
count1
18
word"constructed"
count1
19
word"efficient"
count1
20
word"fleeting"
count1
highlights
0"silk"
1"gloom"
2"intensity"
3"flicker"
4"unreadable"
5"unsettled"
6"reminder"
7"whisper"
8"warmth"
9"weight"
10"familiar"
11"stark"
12"comfortable"
13"silence"
14"unspoken"
15"aftermath"
16"intricate"
17"potential"
18"constructed"
19"efficient"
20"fleeting"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"hung in the air"
count1
2
label"flicker of emotion"
count1
highlights
0"eyes narrowed"
1"hung in the air"
2"a flicker of recognition"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences80
matches
0"e with panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences80
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences102
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
totalWords1327
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions27
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1013
uniqueNames8
maxNameDensity1.18
worstName"Silas"
maxWindowNameDensity2.5
worstWindowName"Silas"
discoveredNames
Raven2
Nest2
Soho1
Blackwood1
Aurora2
Carter1
Silas12
Suddenly1
persons
0"Raven"
1"Nest"
2"Blackwood"
3"Aurora"
4"Carter"
5"Silas"
places
0"Soho"
globalScore0.908
windowScore0.833
2.94% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences68
glossingSentenceCount4
matches
0"looked like she'd been forged in granite"
1"as if searching for an escape"
2"as if assessing the potential threats"
3"something akin to admiration in his eyes"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1327
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences102
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs35
mean37.91
std34.14
cv0.9
sampleLengths
0166
1162
242
332
430
562
631
727
877
913
1033
1117
1235
1342
1433
1516
1638
1738
1815
1919
2043
2110
2231
2344
2425
2523
2613
2724
2831
297
3026
3122
3217
3350
3433
92.11% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences80
matches
0"been pulled"
1"been forged"
2"was swallowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs165
matches(empty)
58.82% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount1
flaggedSentences3
totalSentences102
ratio0.029
matches
0"Silas Blackwood, perched on a stool at the far end of the bar, nursed a single malt that had seen better decades, his hazel eyes reflecting the flickering neon sign – a distinctive green raven’s head above the entrance – with a weary stillness."
1"The small crescent-shaped scar on her left wrist, a pale ghost beneath the cuff of her dark wool coat, was subtly visible – a reminder of a childhood accident, a whisper of vulnerability in a woman who looked like she'd been forged in granite."
2"It wasn't a comfortable silence; it was the kind that followed a confrontation, the quiet aftermath of a long-standing grievance."
78.60% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1012
adjectiveStacks1
stackExamples
0"small crescent-shaped scar"
adverbCount49
adverbRatio0.04841897233201581
lyAdverbCount30
lyAdverbRatio0.029644268774703556
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences102
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences102
mean13.01
std8.13
cv0.625
sampleLengths
023
120
224
344
432
523
617
713
828
941
1019
1144
1217
1314
1411
1513
164
1715
183
1916
2011
2112
2219
2315
2410
256
2612
2714
285
2921
306
319
3220
3315
347
3526
3612
371
3812
3916
405
4115
422
439
441
451
461
477
486
4910
58.17% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4019607843137255
totalSentences102
uniqueOpeners41
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences77
matches
0"Then the door opened, a"
1"Then she moved towards the"
2"Suddenly, a commotion erupted near"
ratio0.039
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences77
matches
0"It wasn’t a gentle rain,"
1"He’d been polishing the rim"
2"It wasn’t a hesitant entrance,"
3"She moved with a disconcerting"
4"She was tall, still, though"
5"She paused, taking in the"
6"Her gaze lingered on Silas,"
7"she said, her voice a"
8"It wasn’t a question."
9"It was a statement of"
10"He didn't startle."
11"He simply raised his glass"
12"she replied, sliding onto the"
13"She didn't offer a smile,"
14"he said, his voice gravelly,"
15"He gestured vaguely around the"
16"she observed, her eyes fixed"
17"It wasn't a comfortable silence;"
18"he finally said, the word"
19"she replied, her voice flat"
ratio0.61
5.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount70
totalSentences77
matches
0"The rain hammered against the"
1"It wasn’t a gentle rain,"
2"This was a bruised rain,"
3"Silas Blackwood, perched on a"
4"He’d been polishing the rim"
5"It wasn’t a hesitant entrance,"
6"She moved with a disconcerting"
7"She was tall, still, though"
8"Those eyes, even across the"
9"The small crescent-shaped scar on"
10"She paused, taking in the"
11"Her gaze lingered on Silas,"
12"she said, her voice a"
13"It wasn’t a question."
14"It was a statement of"
15"He didn't startle."
16"He simply raised his glass"
17"she replied, sliding onto the"
18"The leather creaked beneath her"
19"She didn't offer a smile,"
ratio0.909
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences77
matches(empty)
ratio0
3.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount7
matches
0"Silas Blackwood, perched on a stool at the far end of the bar, nursed a single malt that had seen better decades, his hazel eyes reflecting the flickering neon …"
1"He’d been polishing the rim of his glass with a silk handkerchief, the kind that smelled faintly of sandalwood and regret, for a good twenty minutes, and hadn't…"
2"She moved with a disconcerting directness, a practiced economy of motion that hinted at a past filled with far more urgency than her current, almost detached po…"
3"She was tall, still, though the black hair that had tumbled down her back as a girl had been pulled back into a severe, sleek braid, revealing the sharp angle o…"
4"The small crescent-shaped scar on her left wrist, a pale ghost beneath the cuff of her dark wool coat, was subtly visible – a reminder of a childhood accident, …"
5"It wasn't a comfortable silence; it was the kind that followed a confrontation, the quiet aftermath of a long-standing grievance."
6"Silas studied her, dissecting her appearance, searching for clues as to how she’d become this…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount15
matches
0"she said, her voice a low, controlled timbre, devoid of any warmth"
1"he said, his voice gravelly, each word carefully enunciated"
2"he finally said, the word sounding strained, almost hesitant"
3"she replied, her voice flat"
4"Silas countered, his voice gaining a slight edge"
5"He glanced around, as if searching for an escape"
6"she conceded, a hint of steel creeping into her voice"
7"she continued, her voice low and steady"
8"She took, the ice clinking softly against the glass"
9"Silas asked, his voice carefully neutral"
10"he observed, a flicker of something akin to admiration in his eyes"
11"she replied, her voice hardening again"
12"he asked, his voice barely a whisper"
13"she said finally, her voice tight"
14"Silas said, a grim smile playing on his lips"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags23
fancyCount9
fancyTags
0"she observed (observe)"
1"Silas murmured (murmur)"
2"she stated simply (state)"
3"she conceded (concede)"
4"she continued (continue)"
5"Silas acknowledged (acknowledge)"
6"he observed (observe)"
7"she agreed (agree)"
8"he shouted (shout)"
dialogueSentences52
tagDensity0.442
leniency0.885
rawRatio0.391
effectiveRatio0.346
63.6194%