Run: 2026-02-25-01KJ9528485K58BSCE6N5CRMPN

Run Details

Duration:
19.6s
Cost:
$0.010934
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 empty pint glass slipped from her grip, clattering against the polished oak counter. Rory flinched, a sharp, almost electrical jolt shooting up her arm. The sound wasn't loud, not in the low rumble of The Raven's Nest on a Tuesday night, but it grated all the same. She blamed the lingering chill that clung to her bones, a souvenir from another late delivery run through the city’s damp labyrinth. "Careful, love." Silas appeared from the shadows, a linen cloth draped over his arm. He moved with a quiet, almost spectral grace, despite the slight limp in his left leg. His hazel eyes, usually warm, held a glint of something sharper, assessing the few patrons scattered across the bar. "Don't want to startle the ghosts." "No ghosts tonight, Silas. Just my own knackered old self." Rory forced a smile, tucking a stray strand of shoulder-length black hair behind her ear. Her bright blue eyes scanned the room, settling on the green neon sign above the entrance, its glow softened by the lingering cigarette smoke that clung to the air despite the extractor fan’s efforts. A woman walked in then, silencing the murmur of conversation near the dartboard. Her heels clicked a precise rhythm on the wooden floorboards, each step deliberate, annunciating her presence. Rory froze, pint glass forgotten. The woman moved, not scanning the room like a new arrival, but with the assured gait of someone who already knew precisely where they aimed to be. Her expensive, tailored anthracite blazer hugged a frame that had once been familiar, now sharpened, honed. The loose, wavy blonde hair was new, a dramatic shift from the tight, dark curls Rory remembered. Yet the set of the jaw, that slight tilt of the head, was unmistakable. Eva. Eva stopped at the far end of the bar, away from the scattered groups, her back to Rory. She ordered a dry gin martini, specifying the brand of gin, the exact twist of lemon, the temperature of the glass itself. Her voice, deeper than Rory remembered, carried an edge of unyielding command. Silas, taking the order, shot a quick, curious glance at Rory. Rory felt the blood drain from her face, leaving a cold expanse. She tried to steady her breathing, felt the faint crescent-shaped scar on her left wrist throb. A childhood accident, a forgotten memory until now, suddenly pulled to the surface by the sheer, improbable presence of this woman. "Whisky for me, Silas," Rory managed, her voice a little higher than usual. "The usual." Silas nodded, his gaze unwavering. He moved fluidly between them, a silent conduit of impending collision. Eva turned then, her gaze sweeping over the bar, finally landing on Rory. Recognition flickered in her dark eyes, a brief, startling jolt before being replaced by a cool, unreadable mask. A slow, almost imperceptible smile touched her lips. "Rory? Is that really you?" Her voice, closer now, possessed a new clarity, stripped of the Cardiff lilt Rory remembered. "Eva." The name felt foreign, heavy on Rory's tongue. "I... I hardly recognised you." Eva laughed, a light, brittle sound that echoed unnaturally in the cosy confines of the Nest. "Years, darling. They do things to a person." She shifted, leaning slightly against the bar, her posture radiating an untouchable poise. "You look..." She paused, her eyes tracing a path over Rory's work clothes, the smudges of London grime on her delivery jacket. "...well. Very well." The martini arrived, a crystalline fortress in Eva's manicured hand. She took a slow sip, her gaze never leaving Rory. "Still pulling pints, then?" "Sometimes. Mostly delivering for Yu-Fei. Keeps me busy." Rory's default defence mechanism kicked in: deflection, brevity. "You, though. You look... entirely different. What brings you to this part of town?" "Business." Eva’s single word hung in the air, dense with unsaid implications. "A minor acquisition. Nothing exciting." She raised a perfectly sculpted eyebrow. "Still in London, then. I assumed you'd have returned to Cardiff by now. Given..." She let the sentence trail off, a deliberate, calculated silence. Rory gripped the edge of the bar, her knuckles white. "Cardiff isn't for everyone. London has... opportunities." "Indeed it does." Eva took another deliberate sip of her drink. Her eyes, once warm with shared youthful dreams, now held a detached clinical appraisal. "Heard you were doing something with law. Pre-Law, wasn't it?" "Plans change." "They do." Eva chuckled, a dry rustle of sound. "Especially when certain... complications arise. Evan, for instance." A cold spike drove through Rory's chest. She met Eva's gaze, trying to project indifference, a strength she suddenly didn't feel. "He's ancient history." "Is he?" Eva's smile widened, a predatory flash. "Or is he the reason you ran so far, so fast? A bit unlike you, Rory. Always the one to face things head-on." "Some things aren't worth facing head-on, Eva." Rory’s voice was sharper now, the cool-headed facade beginning to crack. "Some things are best left buried." Silas, polishing a shot glass, cleared his throat softly. The sound was a warning, a subtle intervention. Eva’s gaze flickered to him, a brief, assessing appraisal, then returned to Rory. "Always the pragmatist." Eva set her martini down, the glass humming against the wood. "I remember when you said London would fix everything. Said you'd rise above it all. Here you are. Delivering takeaways. Living above a pub." Her words were soft, yet each one landed like a physical blow. "And you?" Rory shot back, her breath catching in her throat. "What are you doing? Dressed like that, talking like this. This isn't the Eva I knew. The one who hated anything... 'corporate' or 'soulless', as you called it." Eva leaned closer across the bar, her voice dropping to a conspiratorial whisper, though no one else in the bar seemed to notice. "That Eva was a child, Rory. A naïve girl who believed in things like 'truth' and 'justice'. You, of all people, should understand how quickly those dreams turn to ash." A corner of Eva’s mouth twitched. "Evan taught us both that, didn't he?" The air around them thickened, charged with the ghost of unhealed wounds. Rory tried to speak, but her throat felt suddenly constricted. The memory of Evan, the bruises she had hidden, the quiet terror, flashed behind her eyes. Eva had known, had been the one to urge her to leave Cardiff. And now, she wielded that shared pain like a weapon. "What do you want, Eva?" Rory asked, her voice barely a whisper. "Why are you here?" Eva picked up her martini, swirled the liquid, and took a slow, theatrical sip. Her eyes glittered over the rim of the glass. "Perhaps I just want to catch up, Rory. See how my old friend is doing. Or perhaps..." She paused, letting the silence stretch, heavy and suffocating. "Perhaps I need someone. Someone clever. Someone discreet. Someone who knows what it feels like to be trapped and desperate enough to do anything to escape." Rory stared at her, the dark implications of Eva’s words settling like a shroud. This wasn't friendly banter. This was a proposition, a threat veiled in the guise of an olive branch. The quiet authority Eva now carried wasn't just sophistication; it was something colder, something dangerous. "What kind of 'anything,' Eva?" Rory asked, dread blooming in her gut. She already knew the answer. The way Eva had entered, the way she spoke, the way she looked at Silas, the way she looked at *her*. This was a different game entirely. Eva’s smile finally softened, a chilling mimicry of their shared past. "Oh, the usual, darling. Favours. Information. Things that can't be found in polite society." Her gaze flicked to Silas, who stood motionless, watching them from the corner of his eye. "Things that a certain type of establishment excels at." She took a gulp of her martini, emptying the glass. "What say you, Rory? Still think you can run from your past, or ready to finally use it?" She pushed the empty glass across the bar, the sound sharp, final. "Or perhaps you'd prefer to just keep pouring drinks for strangers in a forgotten corner of Soho, waiting for the next nasty surprise Evan sends your way?" A cold tremor ran through Rory. Eva knew. She knew about Evan, knew about the occasional, terrifying postcards, the anonymous threats. She hadn't just 'assumed' Rory was back in Cardiff; she knew Rory was still hiding. It changed everything. Rory's breath hitched, her eyes wide as a new, stark reality settled over her: Eva wasn't here by chance. And she wasn't asking. She was giving an ultimatum.
created_at"2026-02-25T01:01:56.242Z" 2/25/2026, 1:01:56 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1380
moderation_latency(null)
generation_time19473
tokens_prompt4618
tokens_completion2992
native_tokens_prompt4497
native_tokens_completion3834
native_tokens_completion_images0
native_tokens_reasoning1864
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"
usage0.0109341
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency1380
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981316-2Nr2TjTvYbRPcqRUIFyd"
upstream_id(null)
total_cost0.0109341
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
totalTags24
adverbTagCount0
adverbTags(empty)
dialogueSentences43
tagDensity0.558
leniency1
rawRatio0
effectiveRatio0
65.13% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1434
totalAiIsmAdverbs10
found
0
adverb"precisely"
count1
1
adverb"suddenly"
count3
2
adverb"really"
count1
3
adverb"slightly"
count1
4
adverb"very"
count1
5
adverb"perfectly"
count1
6
adverb"softly"
count1
7
adverb"quickly"
count1
highlights
0"precisely"
1"suddenly"
2"really"
3"slightly"
4"very"
5"perfectly"
6"softly"
7"quickly"
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)
9.34% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1434
totalAiIsms26
found
0
word"chill"
count1
1
word"spectral"
count1
2
word"glint"
count1
3
word"scanned"
count1
4
word"scanning"
count1
5
word"familiar"
count1
6
word"throb"
count1
7
word"unwavering"
count1
8
word"flickered"
count2
9
word"unreadable"
count1
10
word"lilt"
count1
11
word"echoed"
count1
12
word"tracing"
count1
13
word"crystalline"
count1
14
word"eyebrow"
count1
15
word"calculated"
count1
16
word"silence"
count2
17
word"facade"
count1
18
word"whisper"
count2
19
word"charged"
count1
20
word"chilling"
count1
21
word"flicked"
count1
22
word"stark"
count1
highlights
0"chill"
1"spectral"
2"glint"
3"scanned"
4"scanning"
5"familiar"
6"throb"
7"unwavering"
8"flickered"
9"unreadable"
10"lilt"
11"echoed"
12"tracing"
13"crystalline"
14"eyebrow"
15"calculated"
16"silence"
17"facade"
18"whisper"
19"charged"
20"chilling"
21"flicked"
22"stark"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences86
matches(empty)
93.02% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences86
filterMatches(empty)
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences104
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1434
ratio0.001
matches
0"her"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions63
wordCount1036
uniqueNames9
maxNameDensity2.51
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Eva"
discoveredNames
Raven1
Nest2
Tuesday1
Rory26
Silas6
Cardiff2
Eva22
London1
Evan2
persons
0"Raven"
1"Rory"
2"Silas"
3"Eva"
4"Evan"
places
0"Cardiff"
1"London"
globalScore0.245
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount0
matches(empty)
60.53% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.395
wordCount1434
matches
0"not in the low rumble of The Raven's Nest on a Tuesday night, but it grated all the same"
1"not scanning the room like a new arrival, but with the assured gait of someone who already knew precisely"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences104
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs33
mean43.45
std26.13
cv0.601
sampleLengths
070
155
259
3109
452
560
615
716
839
920
1014
1162
1224
1330
1447
1517
1635
172
1817
1924
2031
2124
2230
2350
2439
2566
2661
2716
2875
2947
3044
31117
3267
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences86
matches
0"being replaced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs169
matches
0"wasn't asking"
1"was giving"
87.91% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount2
flaggedSentences2
totalSentences104
ratio0.019
matches
0"The quiet authority Eva now carried wasn't just sophistication; it was something colder, something dangerous."
1"She hadn't just 'assumed' Rory was back in Cardiff; she knew Rory was still hiding."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1008
adjectiveStacks1
stackExamples
0"faint crescent-shaped scar"
adverbCount32
adverbRatio0.031746031746031744
lyAdverbCount15
lyAdverbRatio0.01488095238095238
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences104
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences104
mean13.79
std7.79
cv0.565
sampleLengths
014
111
223
322
414
516
619
76
825
934
1013
1116
125
1327
1416
1517
1614
171
1818
1922
2012
2111
2212
2316
2421
2513
262
275
2811
2913
3018
318
3220
339
345
3516
3621
3722
383
3910
4010
414
4216
4314
4412
4511
4624
4710
487
4911
62.50% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.40384615384615385
totalSentences104
uniqueOpeners42
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences84
matches(empty)
ratio0
81.90% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences84
matches
0"She blamed the lingering chill"
1"He moved with a quiet,"
2"His hazel eyes, usually warm,"
3"Her bright blue eyes scanned"
4"Her heels clicked a precise"
5"Her expensive, tailored anthracite blazer"
6"She ordered a dry gin"
7"Her voice, deeper than Rory"
8"She tried to steady her"
9"He moved fluidly between them,"
10"Her voice, closer now, possessed"
11"She shifted, leaning slightly against"
12"She paused, her eyes tracing"
13"She took a slow sip,"
14"She raised a perfectly sculpted"
15"She let the sentence trail"
16"Her eyes, once warm with"
17"She met Eva's gaze, trying"
18"Her words were soft, yet"
19"Her eyes glittered over the"
ratio0.345
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount81
totalSentences84
matches
0"The empty pint glass slipped"
1"Rory flinched, a sharp, almost"
2"The sound wasn't loud, not"
3"She blamed the lingering chill"
4"Silas appeared from the shadows,"
5"He moved with a quiet,"
6"His hazel eyes, usually warm,"
7"Rory forced a smile, tucking"
8"Her bright blue eyes scanned"
9"A woman walked in then,"
10"Her heels clicked a precise"
11"Rory froze, pint glass forgotten."
12"The woman moved, not scanning"
13"Her expensive, tailored anthracite blazer"
14"The loose, wavy blonde hair"
15"Eva stopped at the far"
16"She ordered a dry gin"
17"Her voice, deeper than Rory"
18"Silas, taking the order, shot"
19"Rory felt the blood drain"
ratio0.964
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences84
matches(empty)
ratio0
94.16% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount3
matches
0"She blamed the lingering chill that clung to her bones, a souvenir from another late delivery run through the city’s damp labyrinth."
1"Her bright blue eyes scanned the room, settling on the green neon sign above the entrance, its glow softened by the lingering cigarette smoke that clung to the …"
2"Her expensive, tailored anthracite blazer hugged a frame that had once been familiar, now sharpened, honed."
20.83% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags24
uselessAdditionCount5
matches
0"Rory managed, her voice a little higher than usual"
1"Eva set, the glass humming against the wood"
2"Rory shot back, her breath catching in her throat"
3"Rory asked, her voice barely a whisper"
4"Rory asked, dread blooming in her gut"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"Eva chuckled (chuckle)"
dialogueSentences43
tagDensity0.07
leniency0.14
rawRatio0.333
effectiveRatio0.047
76.2001%