Run: 2026-02-25-01KJ94X57732A2JKDQZVY314B5

Run Details

Duration:
19.4s
Cost:
$0.010297
Provider:
Google AI Studio

Model input

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

Model response

AI
The ice pail clattered, echoing a little too loudly in the quiet bar. Rory frowned, wiping a stray ring of condensation from the mahogany. Rain slicked the Soho pavement outside, giving the green neon sign of The Raven’s Nest a blurry halo. She preferred these lulls, the hushed space allowing her thoughts a rare quiet breath, undisturbed by the usual evening clamour. A new shipment of whiskey needed shelving, a task that kept her hands busy and her mind from wandering too far down familiar rabbit holes. The bell above the door chimed, a small, polite sound. Rory didn't look up immediately. Most late afternoon patrons were regulars, content to nurse a single pint and vanish into their own quiet worlds. "Rory?" The voice was a ghost, a whisper from a forgotten lifetime. Rory froze, the whiskey bottle slipping just a fraction in her damp grip. She knew that voice, the particular lilt wrapping itself around her name, even after all these years. Slow, deliberate, she turned. A woman stood framed in the dim entrance, rain glistening on the shoulders of her trench coat. Her dark blonde hair, once long and wild, was now a sleek, sophisticated bob. She hadn’t changed much, not really. The same wide, trusting hazel eyes. The same small, hopeful smile. It was Chloe. "Chloe." The name tasted foreign on Rory's tongue. A bitter root, not a sweet memory. "It really is you," Chloe breathed, moving further into the bar. Her eyes swept over Rory, taking in the black jeans, the simple dark top, the small crescent scar on her left wrist. Rory felt suddenly exposed, a specimen under glass. "Last I heard, you were off studying law." Chloe’s smile wavered, a hint of confusion knitting her brow. "What happened?" Rory placed the whiskey bottle on the shelf with a soft *thunk*. "Things change, Chloe." "But... This? A bar? I thought you'd be in courtrooms by now. Making a difference." Chloe walked closer, her gaze lingering on Rory’s bright blue eyes, searching for something familiar. "You always said you'd change the world." "The world changed me first." Rory reached for a cloth, wiping down an already clean section of the bar. It was an old habit, a way to anchor herself when the past threatened to drag her under. "You look..." Chloe paused, her gaze still fixed on Rory's face. "Different. Tired." "It's honest work." Rory kept her voice level. "Keeps me off the streets." "Don't joke like that." Chloe’s voice had a soft edge of admonishment, just like it used to whenever Rory got too sardonic. It scraped against a part of Rory that was long dead. "I heard you left Cardiff. Just… vanished. No one knew where you went. Your parents were worried sick." "My parents always worried." Rory shrugged. "Over nothing." She didn’t mention the texts, the calls, the desperate pleas from a mother she could no longer face, a father whose disappointed silence still echoed in her ears. "Evan." Chloe said the name softly, almost reverently. Like an incantation. "It was because of him, wasn't it?" Rory’s hand tightened on the cloth. The mahogany suddenly felt rough beneath her fingers. "Evan's a ghost from another life." "But a real one," Chloe insisted. "I can see it in your eyes. He changed you. He broke something." "He chipped a few edges, perhaps." Rory forced a smile, a brittle, unconvincing thing. "Made me sharper." A figure emerged from the back room, his limp a soft shuffle against the floorboards. Silas, his grey-streaked auburn beard neatly trimmed, glanced between the two women. His hazel eyes, usually warm, held a flicker of curiosity, quickly masked. He gave Rory a subtle nod, an unspoken question. "Just an old acquaintance, Silas." Rory dismissed him with a glance, pushing the word "friend" away. Silas merely nodded again, his silver signet ring flashing on his right hand before he retreated toward his office, leaving the hidden bookshelf door ajar for a moment. Chloe watched him go. "An old acquaintance? You live above this bar, don't you? It's on your social media, Rory. What kind of arrangement is this, really?" "It's a roof over my head." Rory turned, facing Chloe fully. Her cool gaze met Chloe's insistent one. "Don't you have a life? Some hotshot London lawyer to chase, perhaps?" "I'm here." Chloe's voice softened, a genuine ache in it. "I missed you, Rory. We all did. Eva, too. She tried to find you." "Eva found me." Rory’s voice was flat. "She's the one who convinced me to come to London." "She said you were… different." Chloe looked down at her hands, twisting a pearl button on her coat. "She said you wouldn't talk about Cardiff. About him." "There's nothing to talk about." Rory leaned against the bar, crossing her arms. "The past is done." "It's never done," Chloe countered, her voice rising slightly. "Not when it leaves marks like these." She gestured vaguely at Rory, a silent indictment. "We were supposed to share a flat after university, remember? That grand plan to take London by storm? Then you vanished." "Plans change." Rory’s chest felt tight. "Or people run." Chloe’s gaze was sharp now, cutting through Rory's practiced indifference. "You ran, Rory. You always ran when things got hard." "I survived." The word was a shield, hard and unyielding. "Is that a crime now?" "No, but… is this really surviving?" Chloe’s eyes swept around the dimly lit bar, the old maps on the walls, the quiet melancholy of the space. "It's not what we dreamt of. It's not *you*." The silence stretched, thick and uncomfortable, punctuated by the faint hum of the refrigeration unit. Rory looked out at the rain-streaked street, her breath fogging the glass for a moment. Chloe saw it too, the bleakness in her eyes, the way Rory seemed to brace herself against the world. "You should come back to Cardiff," Chloe said, her voice a desperate plea. "Visit. Eva and I, we're planning a trip down memory lane. We could all go together. Like old times." Rory turned back, a ghost of her old intelligence glinting in her eyes, but overlaid with something sharper, colder. "There are no old times left, Chloe. Only now." Just then, a sleek black car, its tinted windows reflecting the green neon sign, pulled up abruptly outside The Raven's Nest. It didn't park so much as stop, a silent, predatory presence. The passenger side window, impossibly black, slid down a fraction. No one emerged. No one spoke. The car just sat there, waiting. Rory’s cool-headed gaze drifted past Chloe, fixing on the car. Her jaw tightened, the brittle smile vanishing completely. "What is it?" Chloe asked, following Rory’s gaze to the menacing vehicle. "Who—" Rory didn't answer. Her hand instinctively moved to the small, cold hilt of the blade tucked into the back of her waistband. The bell above the bar door chimed again, but this time, it wasn't marking an arrival. It was marking a decision. Rory recognized the subtle, almost imperceptible way the car's engine note changed, a low purr deepening to a hungry growl. She had moments, perhaps mere seconds, before the situation escalated. She knew, with a dreadful certainty, that this had nothing to do with old friends or Cardiff regrets. This was the *now*.
created_at"2026-02-25T00:59:09.423Z" 2/25/2026, 12:59:09 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1828
moderation_latency(null)
generation_time19352
tokens_prompt4618
tokens_completion2838
native_tokens_prompt4497
native_tokens_completion3579
native_tokens_completion_images0
native_tokens_reasoning1877
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"
usage0.0102966
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency1828
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981149-vujTRLR7eJAazJxT1EnM"
upstream_id(null)
total_cost0.0102966
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags25
adverbTagCount2
adverbTags
0"She gestured vaguely [vaguely]"
1"Chloe’s eyes swept around [around]"
dialogueSentences51
tagDensity0.49
leniency0.98
rawRatio0.08
effectiveRatio0.078
58.92% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1217
totalAiIsmAdverbs10
found
0
adverb"really"
count4
1
adverb"suddenly"
count2
2
adverb"softly"
count1
3
adverb"quickly"
count1
4
adverb"slightly"
count1
5
adverb"completely"
count1
highlights
0"really"
1"suddenly"
2"softly"
3"quickly"
4"slightly"
5"completely"
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)
46.59% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1217
totalAiIsms13
found
0
word"echoing"
count1
1
word"familiar"
count2
2
word"whisper"
count1
3
word"lilt"
count1
4
word"glistening"
count1
5
word"wavered"
count1
6
word"silence"
count2
7
word"echoed"
count1
8
word"flicker"
count1
9
word"unspoken"
count1
10
word"glinting"
count1
highlights
0"echoing"
1"familiar"
2"whisper"
3"lilt"
4"glistening"
5"wavered"
6"silence"
7"echoed"
8"flicker"
9"unspoken"
10"glinting"
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
narrationSentences81
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences81
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences105
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1217
ratio0.002
matches
0"thunk"
1"you"
2"now"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions60
wordCount886
uniqueNames8
maxNameDensity3.5
worstName"Rory"
maxWindowNameDensity6
worstWindowName"Rory"
discoveredNames
Soho1
Raven2
Nest2
Chloe20
Rory31
Like1
Silas2
Cardiff1
persons
0"Raven"
1"Chloe"
2"Rory"
3"Silas"
places
0"Soho"
1"Cardiff"
globalScore0
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences64
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1217
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences105
matches
0"knew that voice"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs39
mean31.21
std20.09
cv0.644
sampleLengths
087
134
21
345
451
515
641
720
815
937
1037
1113
1213
1351
1436
1518
1620
1719
1817
1948
2016
2128
2227
2330
2424
2517
2627
2717
2845
296
3023
3115
3235
3349
3432
3528
3672
3713
3895
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences81
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs144
matches
0"wasn't marking"
1"was marking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences105
ratio0
matches(empty)
75.64% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount889
adjectiveStacks2
stackExamples
0"same wide, trusting hazel"
1"same small, hopeful smile."
adverbCount46
adverbRatio0.05174353205849269
lyAdverbCount20
lyAdverbRatio0.02249718785151856
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences105
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences105
mean11.59
std6.63
cv0.572
sampleLengths
013
111
218
320
425
510
65
719
81
911
1013
1117
124
1317
1414
156
166
175
183
198
207
2111
2222
238
2418
252
2612
273
2830
297
3019
3118
3211
332
348
355
3622
3711
3818
396
4030
418
423
437
446
458
466
476
4813
4914
57.78% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.38095238095238093
totalSentences105
uniqueOpeners40
84.39% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences79
matches
0"Most late afternoon patrons were"
1"Just then, a sleek black"
ratio0.025
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount19
totalSentences79
matches
0"She preferred these lulls, the"
1"She knew that voice, the"
2"Her dark blonde hair, once"
3"She hadn’t changed much, not"
4"It was Chloe."
5"Her eyes swept over Rory,"
6"It was an old habit,"
7"It scraped against a part"
8"She didn’t mention the texts,"
9"His hazel eyes, usually warm,"
10"He gave Rory a subtle"
11"Her cool gaze met Chloe's"
12"She gestured vaguely at Rory,"
13"It didn't park so much"
14"Her jaw tightened, the brittle"
15"Her hand instinctively moved to"
16"It was marking a decision."
17"She had moments, perhaps mere"
18"She knew, with a dreadful"
ratio0.241
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences79
matches
0"The ice pail clattered, echoing"
1"Rory frowned, wiping a stray"
2"Rain slicked the Soho pavement"
3"She preferred these lulls, the"
4"A new shipment of whiskey"
5"The bell above the door"
6"Rory didn't look up immediately."
7"The voice was a ghost,"
8"Rory froze, the whiskey bottle"
9"She knew that voice, the"
10"A woman stood framed in"
11"Her dark blonde hair, once"
12"She hadn’t changed much, not"
13"The same wide, trusting hazel"
14"The same small, hopeful smile."
15"It was Chloe."
16"The name tasted foreign on"
17"A bitter root, not a"
18"Chloe breathed, moving further into"
19"Her eyes swept over Rory,"
ratio0.924
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences79
matches(empty)
ratio0
99.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences33
technicalSentenceCount2
matches
0"A new shipment of whiskey needed shelving, a task that kept her hands busy and her mind from wandering too far down familiar rabbit holes."
1"Silas merely nodded again, his silver signet ring flashing on his right hand before he retreated toward his office, leaving the hidden bookshelf door ajar for a…"
45.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount4
matches
0"Chloe’s smile wavered, a hint of confusion knitting her brow"
1"Chloe paused, her gaze still fixed on Rory's face"
2"Chloe countered, her voice rising slightly"
3"Chloe said, her voice a desperate plea"
91.18% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount3
fancyTags
0"Chloe breathed (breathe)"
1"She didn’t (do)"
2"Chloe insisted (insist)"
dialogueSentences51
tagDensity0.118
leniency0.235
rawRatio0.5
effectiveRatio0.118
81.9686%