Run: 2026-02-25-01KJ94MTH2CSEMT3N39B8WBQ8N

Run Details

Duration:
26.7s
Cost:
$0.003226
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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 heavy thud against her door vibrated through the floorboards. Silas' bar was usually a muffled roar on a Thursday, not a rhythmic *thump-thump-thump*. Aurora Carter, mid-way through wrestling a stubborn Tupperware lid, froze. It wasn't the kind of knock Silas' regulars deployed. Too... polite. Too insistent. For a delivery driver lugging takeaway after a late shift, it was an anomaly. She wiped sticky fingers on her jeans, the faint scent of garlic oil clinging to them. "Alright, who is it?" A sharp call, pitched to travel through the thick wood. No answer, just another sharp rap. Annoyance prickly. "I'm coming!" She rounded the worn kitchen counter, her bare feet padding softly on the linoleum. The doorframe loomed, old and peeling. The brass lock protested with a metallic groan as she turned the deadbolt, followed by the second. The chain, snug and secure, was the last obstacle. She tugged it free, and with a final twist of her wrist, pulled the door inward. He stood there. Lucien Moreau. The air thickened, catching in her throat like shards of glass. He was every bit the impossibly elegant phantom she remembered, draped in a charcoal wool suit that seemed to absorb the dim hallway light. His platinum blond hair was slicked back, revealing sharp cheekbones and eyes that, even in proximity, held their unsettling, dual glow – one amber, the other a void of black. His signature ivory-handled cane rested against his thigh, an innocuous prop that she knew bristled with lethal intent. "Aurora." His voice, a low, resonant rumble, coiled around her like smoke. "Fancy seeing you here." The sarcasm, so smooth, so utterly *him*, was a physical slap. Fancy seeing *him*? Here? In *her* cramped little flat above a South London pub? The universe had a twisted sense of humour. "More like 'fancy you finding me'," she retorted, her voice tighter than she'd intended. She kept her stance firm, one hand braced against the doorframe. "You shouldn't be here, Luc." "Shouldn't I?" He took a step forward, the movement fluid, predatory. The cane tapped a soft rhythm against the grimy floor. "Yet, here I am. Open door, welcome guest. Or is it?" The amber eye glinted. Her jaw tightened. 'Welcome' was a word she hadn't associated with him in years. "You were never invited." "A technicality." He tilted his head, a predator assessing its prey. "But since you've been so kind as to grace me with your presence... may I step inside? It's rather drafty out here for a gentleman such as myself, and I have matters of some urgency to discuss." Urgency? With her? He always had matters of urgency. Matters that pulled her into his orbit, then spat her out, leaving her bruised and bewildered. Her left wrist, hidden beneath the sleeve of her grey t-shirt, itched. The small crescent scar, a relic from a childhood fall, felt suddenly raw. "No." The word was flat, clipped. She wouldn't let him in. Not again. Not after everything. Lucien merely smiled, a slow, unnerving stretch of lips that didn't quite reach his eyes. He raised a perfectly manicured hand, not to knock, but to gesture vaguely behind him. "Are you sure? Because I believe dear Silas might have taken exception to me loitering on his doorstep, and you wouldn't want me to cause a scene, would you? Not in your... domain." A quick glance over her shoulder. The distant drone of the pub, a burst of laughter. Silas was likely occupied. But Luc knew Silas. He knew how to play these games. He could manufacture a scene, or worse, use Silas' presence as leverage. She hated that he knew this. Hated that he knew *her*. She swallowed, the knot in her stomach tightening. "Fine. Five minutes. And don't touch anything." The smile widened. He ducked under the threshold, his presence instantly seeming to shrink the cramped hallway. He moved with an unnerving grace, his expensive suit a stark contrast against the<bos> peeling paint and worn carpet. He surveyed the narrow space, taking in the stack of old newspapers by the coat rack, the slightly damp patch near the fuse box. He didn't flinch, didn't sneer. Just observed. "Your home," he murmured, his gaze finally settling on her. "Modest. Functional. Much like your current occupation, I imagine." "I deliver food, Luc. It pays the bills." Her voice was sharp, defensive. "Unlike some people, I don't have a trust fund for supernatural underworld fixers." A low chuckle vibrated from his chest. "Ah, always the quick wit. A lawyer in the making, they said. A shame you abandoned such a promising path for... this." He gestured vaguely again, indicating the general state of her existence. "I left that life behind," she stated, her back stiffening. "For good reasons. Reasons you were part of." He waved a dismissive hand. "Details. We're not here to rehash ancient history, Aurora, unless, of course, you wish to. I, for one, find it... stimulating. But I have a proposition. One that might appeal to your particular brand of unconventional problem-solving." She crossed her arms, leaning against the doorframe she'd forgotten to close properly. The muted sounds of the bar seemed to press against the silence between them. "A proposition? From you? I highly doubt it. My 'unconventional problem-solving' usually involves making sure I don't end up in a ditch with my organs rearranged. Your propositions tend to involve *causing* the rearranged organs." He stepped closer, closing the distance she'd tried to maintain. The scent of something sophisticated, like sandalwood and old parchment, wafted from him. For a moment, his heterochromatic eyes held hers, the amber searching, the black depthless. The attraction, sharp and unwelcome, prickled at the edges of her composure. She forced it down. "My dear Rory," he said, the old nickname a deliberate weapon, designed to disarm. "You wound me. I merely facilitate... solutions. And this particular solution involves a rather significant sum. Enough, perhaps, to buy you out of your current, shall we say, less-than-glamorous role. And maybe even afford you a rather nice Italian sports car, the kind you always did admire." She scoffed. "You know about the car?" "I know many things, Aurora. It's my métier, as you well know. And I know you have a certain... penchant for the finer things, buried beneath all this pragmatism." He gestured around the small room. "This life. It doesn't suit you. Not the Aurora Carter I knew." What the hell was this? Flattery? Bribery? A trap? He was a master manipulator. She knew that better than anyone. "The Aurora Carter you knew made a lot of mistakes. Particularly when she mistook your promises for sincerity." His smile faltered, just for a fraction of a second. A flicker of something he quickly masked. "That is where you are mistaken. My sincerity is... conditional. Much like loyalty." He straightened his cufflink. "But your skills, your instincts, the way your mind works under pressure – that is never conditional. Which is why I'm here." He moved past her finally, towards the cramped living area. She could have stopped him, should have. Her hand instinctively went to her left wrist again, to the faint scar. She tried to remember what it felt like to be unaware, to be naive. It had been a long time. "What do you want, Luc?" Her voice was a low growl. "Spit it out." He turned, leaning his elegant frame against her cluttered bookshelf. Books on law, criminal justice, obscure folklore she’d collected, sat higgledy-piggledy. He picked up a small, leather-bound volume on ancient Celtic curses, his thumb tracing its worn cover. “A colleague of mine – a rather unpleasant individual, I must confess – has misplaced something. Something that belongs to me.” “And you think I can find it?” Her brow furrowed. “I deliver parcels, Luc. I don’t track down stolen magical artefacts or whatever this is about.” She gestured to the book. “Not directly,” he said, his voice deepening. “But this ‘colleague’ is… resourceful. He’s a collector of… oddities. And he owes me. He has something I need back. This ‘item’ is small, easily concealed. He’s likely already passed it on. To someone who appreciates the value of discretion. Someone who knows how to move unseen. Someone like… you.” She shook her head. "No. Absolutely not. I'm out of that world, Luc. You know why." "Precisely," he countered, his gaze sharp and unwavering. "That is *why* you are the perfect candidate. You operate in the shadows the authorities overlook. You know the alleys, the back routes. You have a unique network through your… current profession. A network that might brush shoulders with the sort of lowlifes my colleague would employ." "And if I refuse?" She met his gaze, her own simmering with a potent blend of fear and defiance. He placed the book back on the shelf, the movement deliberate. Then, he reached into his inner suit pocket, his tailored jacket shifting just enough to reveal a glimpse of dark fabric. He withdrew what looked like a small, unassuming USB drive. "Because," Lucien Moreau said, his heterochromatic eyes fixed on hers, "this little trinket happens to contain irrefutable proof of your ex-boyfriend Evan's recent whereabouts. And more importantly, his current activities. Activities that, I suspect, would put you back on the radar of people who… do not forget past grievances. People who might be very interested in finding the woman who escaped their clutches." The silence that followed was deafening, punctuated only by the distant clatter of glasses from Silas’ bar. Evan. The name alone sent a tremor through her, cold and sharp. He’d promised he’d find her. He’d never stopped. Lucien knew her deepest, most buried fear. And he'd just dangled it, gleaming and venomous, right in front of her face. "How?" she breathed, the blood draining from her face. Lucien’s smile returned, sharp and victorious. "As I said, Aurora. I know many things." He held out the USB drive. "The choice, as always, is yours." Aurora stared at the drive, then at Lucien’s impassive face. The history between them, a tangled mess of desire, betrayal, and unfinished business, suddenly felt like a noose tightening around her neck. To refuse was to invite Evan back into her life, a prospect more terrifying than anything Luc could conjure. But to accept… to accept meant stepping back into the darkness, alongside the very man who had once fractured her world. His offer wasn't a choice; it was a surrender. And in his amber eyes, she saw the undeniable promise of exquisite ruin, wrapped in the sleek disguise of a lifeline. The drive pulsed with unspoken threats, a tiny device holding the fate of her fragile peace. And Lucien watched, waiting for her to take the bait.
created_at"2026-02-25T00:54:36.349Z" 2/25/2026, 12:54:36 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1175
moderation_latency(null)
generation_time26659
tokens_prompt4556
tokens_completion5183
native_tokens_prompt4440
native_tokens_completion6956
native_tokens_completion_images0
native_tokens_reasoning4487
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"
usage0.0032264
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1174
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771980876-sVnwKvgCB0O5YfbQox2Y"
upstream_id(null)
total_cost0.0032264
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
69.57% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags21
adverbTagCount3
adverbTags
0"resonant rumble coiled around [around]"
1"He gestured vaguely [vaguely]"
2"He gestured around [around]"
dialogueSentences46
tagDensity0.457
leniency0.913
rawRatio0.143
effectiveRatio0.13
72.05% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1789
totalAiIsmAdverbs10
found
0
adverb"softly"
count1
1
adverb"utterly"
count1
2
adverb"suddenly"
count2
3
adverb"perfectly"
count1
4
adverb"slightly"
count1
5
adverb"quickly"
count1
6
adverb"precisely"
count1
7
adverb"very"
count2
highlights
0"softly"
1"utterly"
2"suddenly"
3"perfectly"
4"slightly"
5"quickly"
6"precisely"
7"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
38.51% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1789
totalAiIsms22
found
0
word"vibrated"
count2
1
word"rhythmic"
count1
2
word"loomed"
count1
3
word"sense of"
count1
4
word"predator"
count1
5
word"stomach"
count1
6
word"stark"
count1
7
word"silence"
count2
8
word"flicker"
count1
9
word"tracing"
count1
10
word"furrowed"
count1
11
word"absolutely"
count1
12
word"unwavering"
count1
13
word"perfect"
count1
14
word"simmering"
count1
15
word"gleaming"
count1
16
word"desire"
count1
17
word"fractured"
count1
18
word"pulsed"
count1
19
word"unspoken"
count1
highlights
0"vibrated"
1"rhythmic"
2"loomed"
3"sense of"
4"predator"
5"stomach"
6"stark"
7"silence"
8"flicker"
9"tracing"
10"furrowed"
11"absolutely"
12"unwavering"
13"perfect"
14"simmering"
15"gleaming"
16"desire"
17"fractured"
18"pulsed"
19"unspoken"
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
narrationSentences125
matches(empty)
97.14% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences125
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
98.85% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences150
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen63
ratio0.007
matches
0"He moved with an unnerving grace, his expensive suit a stark contrast against the<bos> peeling paint and worn carpet."
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans7
markdownWords7
totalWords1793
ratio0.004
matches
0"thump-thump-thump"
1"him"
2"him"
3"her"
4"her"
5"causing"
6"why"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1115
uniqueNames12
maxNameDensity0.63
worstName"Lucien"
maxWindowNameDensity2
worstWindowName"Lucien"
discoveredNames
Carter1
Tupperware1
Moreau2
South1
London1
Urgency1
Luc2
Silas2
Celtic1
Evan2
Lucien7
Aurora2
persons
0"Carter"
1"Moreau"
2"Luc"
3"Silas"
4"Evan"
5"Lucien"
6"Aurora"
places
0"South"
1"London"
globalScore1
windowScore1
1.19% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount5
matches
0"suit that seemed to absorb the dim hallway light"
1"quite reach his eyes"
2"felt like to be unaware, to be naive"
3"looked like a small, unassuming USB drive"
4"felt like a noose tightening around her"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.558
wordCount1793
matches
0"not to knock, but to gesture vaguely behind him"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences150
matches
0"hated that he"
1"Hated that he"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean40.75
std24.73
cv0.607
sampleLengths
077
124
262
33
42
583
616
733
830
936
1018
1148
1250
1316
1463
1554
1615
1767
1819
1926
2040
2118
2242
2362
2453
2561
267
2747
2838
2956
3050
3114
3259
3331
3457
3516
3655
3719
3842
3963
4058
419
4226
43128
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences125
matches
0"was slicked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs191
matches
0"was deafening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount1
flaggedSentences2
totalSentences150
ratio0.013
matches
0"His platinum blond hair was slicked back, revealing sharp cheekbones and eyes that, even in proximity, held their unsettling, dual glow – one amber, the other a void of black."
1"His offer wasn't a choice; it was a surrender."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount554
adjectiveStacks1
stackExamples
0"small, leather-bound volume"
adverbCount20
adverbRatio0.036101083032490974
lyAdverbCount5
lyAdverbRatio0.009025270758122744
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences150
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences150
mean11.95
std10.08
cv0.844
sampleLengths
010
114
210
39
41
51
62
714
816
914
106
112
122
1314
146
1517
169
1716
183
192
2011
2124
2230
2318
2412
254
2611
273
281
2910
308
3114
3211
335
3411
3510
3615
373
3811
394
4011
4137
421
432
446
4516
4612
4713
486
495
55.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.36666666666666664
totalSentences150
uniqueOpeners55
30.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences110
matches
0"Then, he reached into his"
ratio0.009
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount61
totalSentences110
matches
0"It wasn't the kind of"
1"She wiped sticky fingers on"
2"She rounded the worn kitchen"
3"She tugged it free, and"
4"He stood there."
5"He was every bit the"
6"His platinum blond hair was"
7"His signature ivory-handled cane rested"
8"His voice, a low, resonant"
9"she retorted, her voice tighter"
10"She kept her stance firm,"
11"He took a step forward,"
12"Her jaw tightened."
13"He tilted his head, a"
14"He always had matters of"
15"Her left wrist, hidden beneath"
16"She wouldn't let him in."
17"He raised a perfectly manicured"
18"He knew how to play"
19"He could manufacture a scene,"
ratio0.555
37.27% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount93
totalSentences110
matches
0"The heavy thud against her"
1"Aurora Carter, mid-way through wrestling"
2"It wasn't the kind of"
3"She wiped sticky fingers on"
4"A sharp call, pitched to"
5"She rounded the worn kitchen"
6"The doorframe loomed, old and"
7"The brass lock protested with"
8"The chain, snug and secure,"
9"She tugged it free, and"
10"He stood there."
11"The air thickened, catching in"
12"He was every bit the"
13"His platinum blond hair was"
14"His signature ivory-handled cane rested"
15"His voice, a low, resonant"
16"The sarcasm, so smooth, so"
17"The universe had a twisted"
18"she retorted, her voice tighter"
19"She kept her stance firm,"
ratio0.845
90.91% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences110
matches
0"To refuse was to invite"
1"to accept meant stepping back"
ratio0.018
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount2
matches
0"He was every bit the impossibly elegant phantom she remembered, draped in a charcoal wool suit that seemed to absorb the dim hallway light."
1"Matters that pulled her into his orbit, then spat her out, leaving her bruised and bewildered."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount8
matches
0"she retorted, her voice tighter than she'd intended"
1"He took, the movement fluid, predatory"
2"He tilted, a predator assessing its prey"
3"he murmured, his gaze finally settling on her"
4"she stated, her back stiffening"
5"he said, his voice deepening"
6"he countered, his gaze sharp and unwavering"
7"she breathed, the blood draining from her face"
63.04% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount4
fancyTags
0"she retorted (retort)"
1"he murmured (murmur)"
2"she stated (state)"
3"she breathed (breathe)"
dialogueSentences46
tagDensity0.152
leniency0.304
rawRatio0.571
effectiveRatio0.174
78.2651%