Run: 2026-02-25-01KJ94K5VKHN1Y8WJEF87KDH5M

Run Details

Duration:
20.1s
Cost:
$0.010442
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
Another one of yours, Silas?" Rory held up the chipped mug. Coffee grounds clung to the rim like barnacles, refusing to yield to the sponge. "Did you excavate this from a Roman dig?" "Sentimental value." Silas, perched on a stool at the far end of the bar, polished a tumbler with meticulous care. His silver signet ring gleamed faintly under the low lights. "Don't ask." He set the glass down with a soft *thunk*, its surface refracting the green neon glow from the sign outside. "Every week, sentimentality costs me elbow grease." Rory tossed the mug into the industrial sink. The metal clanged. She wiped her hands on a clean cloth, the scent of antiseptic lingering on her skin. The Raven’s Nest had always been her sanctuary, a quiet harbour after the day's deliveries, its walls covered with ancient, unfurling maps and black-and-white photographs of forgotten faces. A gust of London night air, thick with exhaust fumes and damp pavement, swept through the suddenly opened door. Rory glanced up, expecting another late regular, perhaps even a delivery for Yu-Fei Cheung's, but the figure silhouetted against the streetlights brought her to a sudden, rigid halt. "Rory? Is that really you?" The voice, a familiar lilt, was thicker now, coarser around the edges, but undeniably hers. Eva. Rory felt a hollow thrum behind her ribs. The woman stepping inside wore a too-tight crimson dress that left little to the imagination and cheap, cloying floral perfume that seemed to precede her, overwhelming the subtle woodsmoke and whisky of the Nest. Her hair, once a vibrant ginger, was now a brassy blonde, expertly teased and lacquered into an unmoving helmet. Her face was sharper, thinner, framed by heavy, smudged eyeliner and lips painted a startling fuchsia. "Eva?" Rory's own voice felt foreign, a whisper trapped in her throat. Eva’s smile was too wide, too eager. It didn't quite reach the flat, shadowed expanse of her eyes. "I knew it! Knew I recognised that scowl from a mile away." She laughed, a brittle sound that grated against the warm murmur of the bar. "What are you doing in London, pet? Last I heard, you were holed up in some Welsh cave, hiding from the boogeyman." The 'boogeyman' in question had a name: Evan. And Eva had been the one to insist Rory flee, to leave everything behind. The irony burned. "I live here." Rory gestured vaguely at the ceiling. "Above the bar." She looked to Silas, a silent plea in her bright blue eyes. He offered nothing, simply continuing his meticulous work on the glasses, a silent, unreadable sentinel. "Fancy that." Eva sauntered up to the bar, her high heels clicking a restless rhythm on the polished floorboards. "Moved up in the world, eh? From Cardiff council estates to… SoHo. Who'd have thought?" She leaned over the bar, her gaze sweeping over Rory, assessing, dissecting. "You look... different." "Time does that." Rory forced a neutral tone. "You too." Eva chuckled, running a lacquered nail along the scarred oak. "Suppose so. Life hits you hard, doesn't it? Knocks the soft edges off." She gestured to Silas. "Two whiskies. Top shelf. On me. For old times' sake." Silas merely raised an eyebrow. "Aurora's on duty, I'm afraid." "Nah, it's fine, Silas." Rory cut in, a muscle twitching in her jaw. She didn't want Eva to see her as waiting tables, not after everything. "I'm just tidying up." She poured two generous measures of a smoky single malt into heavy tumblers. The liquid shimmered gold. "That's the spirit!" Eva grabbed a glass, taking a large, unladylike gulp. She winced, then smiled, a hint of defiance in the gesture. "Proper stuff. Always knew you had good taste, Rory. Even when you were chasing after that… wet noodle." "Evan." The name felt like a stone in Rory’s mouth. "That's the one." Eva waved her hand dismissively. "God, what did you ever see in him? A waste of space. Good thing you ran, eh? Best thing you ever did." Her eyes, however, didn’t hold agreement. They held a strange mix of accusation and something more calculating. "You said it was." Rory's gaze was steady, unwavering. "You were right." "Always am." Eva took another gulp, the ice clinking loudly. "So, what's a smart girl like you doing in a place like this? Still running, I suppose? From what, this time? Another abusive boyfriend? Don't tell me you picked another dud." Rory’s hand tightened on the rag. "I'm not running from anyone. I'm building something." "Building what? A pile of dirty dishes?" Eva laughed, louder this time. A few patrons glanced over. "Come on, Rory. The smart one, the one who was meant for bigger things. Barrister, wasn't it? Pre-Law at Cardiff Uni, little Miss Perfect. And here you are." She gestured around the dimly lit bar. "Serving drinks." "I make my own choices." The words were flat, devoid of emotion. "What about you? Still in Cardiff?" A flicker of something dark crossed Eva’s face, quickly masked by a bright, false cheer. "Oh, you know me. Never could stay in one place for long. Bit of this, bit of that. Life’s an adventure, isn't it?" Her eyes darted towards the hidden bookshelf in the back, the one leading to Silas's secret room. "Looks like you picked up a few interesting habits, though. Friend of Silas Blackwood, hmm? That's quite the upgrade from your old crowd." "Silas is a friend. He gave me a place to stay." Rory felt a prickle of unease. Eva’s questions were too pointed, her observations too sharp. She knew about Silas, or at least his reputation. "A place to stay." Eva nodded slowly, a predatory glint in her eyes. "Heard about Silas. Bit of a legend in certain circles. Old school. Keeps his secrets close. Just like you, eh?" She leaned forward conspiratorially, her perfume assaulting Rory's senses. "Though I remember a time when you couldn’t keep a secret for the life of you. Especially from me." The unspoken accusation hung between them: *You changed*. And beneath that: *You left me behind*. "People change, Eva." Rory picked up the second whisky, her fingers closing around the cold glass. She didn't drink much these days, especially not during her rare moments of peace. But tonight, she felt a sudden, desperate need for the burn. "They do." Eva reached across the bar, her fingertips sticky and cold as they grazed Rory's wrist. "You got a scar." Her nail, chipped scarlet, traced the faint crescent shape on Rory's left wrist. "Forgot about that. Remember falling out of that old oak tree? Said you were a cat. Always landed on your feet, you did." The memory, so vivid and distant, was a dull ache. Rory pulled her hand back, the touch unwelcome. "Some things you never forget." "No point in remembering the bad stuff, though, is there?" Eva’s smile thinned. "Or the good stuff, if it turns sour. Like old friendships." "Is that why you're here, Eva? To reminisce?" Rory's voice was low, edged with a steel Eva might not recognise from their youth. Eva drained her glass, slamming it down with a definite *thud*. "No, pet. Not exactly. I heard things. About you. About your… connections." She glanced at Silas, who remained impassive. "And I thought, well, a favour. For old times' sake. You owe me." Rory's jaw tightened. "I owe you nothing." "Oh?" Eva raised an eyebrow, a flicker of genuine malice igniting her eyes. "Who told you to pack your bags and get out of Cardiff before that psycho Evan did more than just break a few of your precious belongings? Who called every single cheap B&B in London until they found you a room? Who covered your tracks when your family started asking questions? You'd be back under his thumb, locked in that flat, if it wasn't for me, Rory. Don't you forget it." The words struck Rory deep, hitting a nerve she thought long-healed. Eva's voice had lost its playful veneer, replaced by a harsh, grating edge. It was the voice of the streets, of desperation and cunning that Rory had deliberately left behind. "What do you want?" Rory asked, her voice quiet but firm as she met Eva's gaze head-on. "Just a little help." Eva’s eyes glittered. "I’ve gotten myself into a bit of a pickle. Nothing you can't handle. Not with your new… friends." She leaned closer, her breath smelling of whisky and something else, something metallic and faintly foul beneath the perfume. "There's a name going around. Someone who knows things. Too many things. And he's got something that belongs to me. A ledger." Her voice dropped to a barely audible whisper. "And I need you to get it back." She held Rory's stare. "Tonight."
created_at"2026-02-25T00:53:42.396Z" 2/25/2026, 12:53:42 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1463
moderation_latency(null)
generation_time20042
tokens_prompt4618
tokens_completion2983
native_tokens_prompt4497
native_tokens_completion3637
native_tokens_completion_images0
native_tokens_reasoning1556
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"
usage0.0104416
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency1463
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771980822-XWLRaRS2HJPIp061auSy"
upstream_id(null)
total_cost0.0104416
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
88.89% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags36
adverbTagCount4
adverbTags
0"Rory gestured vaguely [vaguely]"
1"The name felt like [like]"
2"Eva nodded slowly [slowly]"
3"a name going around [around]"
dialogueSentences60
tagDensity0.6
leniency1
rawRatio0.111
effectiveRatio0.111
82.88% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1460
totalAiIsmAdverbs5
found
0
adverb"suddenly"
count1
1
adverb"really"
count1
2
adverb"quickly"
count1
3
adverb"slowly"
count1
4
adverb"deliberately"
count1
highlights
0"suddenly"
1"really"
2"quickly"
3"slowly"
4"deliberately"
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)
38.36% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1460
totalAiIsms18
found
0
word"sanctuary"
count1
1
word"familiar"
count1
2
word"lilt"
count1
3
word"whisper"
count2
4
word"unreadable"
count1
5
word"sentinel"
count1
6
word"eyebrow"
count2
7
word"shimmered"
count1
8
word"calculating"
count1
9
word"unwavering"
count1
10
word"perfect"
count1
11
word"flicker"
count2
12
word"glint"
count1
13
word"unspoken"
count1
14
word"traced"
count1
highlights
0"sanctuary"
1"familiar"
2"lilt"
3"whisper"
4"unreadable"
5"sentinel"
6"eyebrow"
7"shimmered"
8"calculating"
9"unwavering"
10"perfect"
11"flicker"
12"glint"
13"unspoken"
14"traced"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences96
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences96
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences101
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen94
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords8
totalWords1460
ratio0.005
matches
0"thunk"
1"You changed"
2"You left me behind"
3"thud"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount992
uniqueNames20
maxNameDensity2.12
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Rory"
discoveredNames
Roman1
Silas4
Rory21
Raven1
Nest2
London3
Yu-Fei1
Cheung1
Eva17
Welsh1
Cardiff2
SoHo1
Uni1
Miss1
Perfect1
Blackwood1
Bit2
Remember1
Like1
You4
persons
0"Roman"
1"Silas"
2"Rory"
3"Raven"
4"Nest"
5"Yu-Fei"
6"Cheung"
7"Eva"
8"Blackwood"
9"Remember"
10"You"
places
0"London"
1"Welsh"
2"Cardiff"
3"SoHo"
globalScore0.442
windowScore0.333
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences49
glossingSentenceCount3
matches
0"perfume that seemed to precede her, overwhelming the subtle woodsmoke and whisky of the Nest"
1"quite reach the flat, shadowed expanse of her eyes"
2"felt like a stone in Rory’s mouth"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1460
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences101
matches
0"recognised that scowl"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs38
mean38.42
std23.4
cv0.609
sampleLengths
033
152
262
347
45
593
612
766
825
939
1049
1110
1237
1310
1447
1541
1610
1747
1812
1941
2014
2154
2218
2378
2435
2561
2615
2741
2857
2923
3024
3123
3243
337
3484
3541
3617
3787
97.95% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences96
matches
0"were holed"
1"was meant"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs158
matches
0"were chasing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences101
ratio0
matches(empty)
90.45% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount535
adjectiveStacks0
stackExamples(empty)
adverbCount26
adverbRatio0.048598130841121495
lyAdverbCount12
lyAdverbRatio0.022429906542056073
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences101
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences101
mean14.46
std15.06
cv1.042
sampleLengths
033
152
262
347
41
54
693
712
821
930
1015
1125
1239
1325
145
151
1617
171
1810
1912
206
2111
222
232
244
2510
2647
2725
287
297
302
3110
3216
334
345
3522
3612
3723
384
394
403
417
4211
433
442
4518
4611
473
487
4913
97.03% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.6138613861386139
totalSentences101
uniqueOpeners62
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences79
matches
0"Always knew you had good"
1"Just like you, I remember"
2"Always landed on your feet,"
3"Too many things."
ratio0.051
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount4
totalSentences79
matches
0"He gave me a place"
1"I heard things."
2"I thought, well, a favour"
3"You'd be back under his"
ratio0.051
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount54
totalSentences79
matches
0"Another one of yours, you"
1"Silas, perched on a stool"
2"Rory tossed the mug into"
3"A gust of London night"
4"The voice, a familiar lilt,"
5"Rory's own voice felt foreign,"
6"Eva’s smile was too wide,"
7"Rory gestured vaguely at the"
8"Eva sauntered up to the"
9"Rory forced a neutral tone"
10"Eva chuckled, running a lacquered"
11"Life hits you hard, doesn't"
12"Knocks the soft edges whiskies."
13"Silas merely raised an eyebrow."
14"Rory cut in, a muscle"
15"Eva grabbed a glass, taking"
16"The name felt like a"
17"Eva waved her hand dismissively"
18"A waste of space."
19"Rory's gaze was steady, unwavering"
ratio0.684
63.29% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences79
matches
0"Even when you were chasing"
ratio0.013
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences8
technicalSentenceCount1
matches
0"The voice, a familiar lilt, was thicker now, coarser around the edges, but undeniably hers. Eva. Rory felt a hollow thrum behind her ribs. The woman stepping in…"
51.47% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags34
uselessAdditionCount5
matches
0"own voice felt, a whisper trapped in her throat"
1"Eva took, the ice clinking loudly"
2"Rory picked up, her fingers closing around the cold glass"
3"Eva reached, her fingertips sticky and cold as they grazed Rory's wrist"
4"Eva raised, a flicker of genuine malice igniting her eyes"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"Eva chuckled (chuckle)"
dialogueSentences60
tagDensity0.033
leniency0.067
rawRatio0.5
effectiveRatio0.033
86.5741%