Run: 2026-02-25-01KJ9576GSJM8FPZKVK5P1PC8T

Run Details

Duration:
26.6s
Cost:
$0.002668
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 scent of cleaning fluid, sharp and citrusy, warred with the stale perfume of spilled lager as Rory wiped down the scarred mahogany counter. A low hum of conversation, punctuated by the clink of glasses, usually provided a comforting rhythm in the dim confines of The Raven’s Nest. Then, clear as a struck bell, a voice cut through the familiar drone, one she hadn't heard in fifteen years. "Aurora Carter? Is that definitely you?" Rory paused mid-wipe, her bright blue eyes flicking up. A man stood by the entrance, silhouetted against the streetlights filtering through the grimy window. He was older, of course, everyone was, but the jawline, the set of the shoulders… it was there. Time had etched fine lines around his eyes, now a startlingly pale blue, and his once unruly sandy hair was coiffed and gleaming with an expensive product. He wore a suit the colour of charcoal, impeccably tailored, the kind that belonged in boardrooms, not the smoky, history-laden atmosphere of Silas's bar. "Finnigan?" The name felt alien on her tongue. "Bloody hell, Finnigan O’Malley. What are you doing here?" He stepped fully into the bar’s muted light, and Rory catalogued the changes. The vibrant energy from their shared university days was replaced by a sharp, almost predatory stillness. His fingernails, usually bitten short by nervous habit, were immaculately manicured, a stark contrast to the cheap glass she held. He managed a grin, a flash of perfect teeth. "Business brought me to London. I heard you sometimes worked nights. This place… it felt right. A bit of a dive, but authentic. And then I saw you." He gestured vaguely, his movements economical, precise. "You haven't changed a bit, Rory. Still got that… spark." Rory leaned the damp cloth against the till, her smile tight. "You're the one who's changed, Finn. Last I heard, you were going to be a rock star in a Welsh village hall." He chuckled, a sound that didn't quite reach his eyes. "Plans change. Circumstances evolve. I found a different stage. One with a rather more substantial audience." He took another step forward, his gaze sweeping over the interior. Old maps depicting forgotten trade routes adorned one wall, juxtaposed with black-and-white photographs of stern-faced individuals who looked like spies or smugglers. The air was thick with the ghosts of hushed dealings and potent spirits. "This place… it suits you. Quiet. Out of the way." He wasn't wrong. The Raven's Nest, with its deceptive normalcy, was Silas’s carefully cultivated sanctuary. By day, Rory delivered steaming cartons of chow mein for Yu-Fei Cheung, her battered scooter weaving through London's maze. By night, she lived in the cramped flat above this bar, a perch overlooking a world far removed from Cardiff’s predictable avenues. "It's home," Rory said, accepting the implicit offer to step around the bar and join him at a small, secluded table near the back. She didn't move. "I work a few nights here, help Silas out. Keeps me from chasing after taxis at three AM." Finnigan’s pale blue eyes narrowed almost imperceptibly. The compliment about her appearance felt less like a genuine observation and more like a strategic assessment. "Deliveries, is it? Still running?" "Someone's got to do it." She picked up the cloth again, and started to polish a glass with a practised motion. It was a shield, a familiar task that anchored her. She felt a prickle of unease, the kind that settled when the air pressure dropped before a storm. Finnigan, the ambitious, reckless Finnigan she remembered, now projected an aura of calculated success, like a predator dressed in fine tailoring. "Right," he said, sinking into a worn leather booth. He signalled a passing barmannot Silas, but a younger man Rory recognised from the evening shifts. "Whisky. The good stuff. And something for my… associate." He glanced at Rory. "Just a tap water, thanks." The glass she held was now spotless. She placed it on the counter, her reflection staring back at her – black hair pulled back, bright blue eyes, the faint crescent scar on her left wrist a pale crescent moon against her skin. She looked… functional. Not like the girl who’d sworn to travel the world with Finnigan, to leave Cardiff and its suffocating familiarity behind. Finnigan watched her, a ghost of their shared past flickering in his gaze. "Remember that summer, Rory? We were going to buy a sailboat. Sail to Greece. Teach ourselves ancient Greek while living on olives and feta." "We were twenty, Finn. We said a lot of things." The memory felt distant, like a faded photograph of strangers. She remembered the fierce idealism they’d shared, the righteous anger at injustice seething beneath their student bravures. He’d called her a natural leader, said she could charm the birds from the trees. Now, he just saw someone running meagre errands. "Yes," he murmured, accepting the amber liquid from the barman, his fingers wrapping around the heavy tumbler. "We did. But the world… it doesn't run on idealism, does it? Not in the realpolitik of things." He took a long sip, his gaze intense. "You always were the sharp one, Rory. Saw through the bullshit far better than I did back then. Still do, I bet?" "I see what's in front of me," she replied, her tone carefully neutral. The ice in his whisky clinked as he swirled it. The sound was sharp, defiant. "And what's in front of you, Rory?" He leaned forward, his elbows on the polished wood, the charcoal suit straightening as if a hidden spring had been engaged. "A delivery service? A flat above a pub? That’s not the Aurora Carter I knew. The one who could argue the hind legs off a donkey and make a judge weep." Her mother’s disappointed sigh echoed faintly in her mind. Her father’s pragmatic advice about ‘making the best of a situation’. She'd fled London from a life that was slowly crushing her, only to find herself still navigating shadows, albeit different ones. The scar on her wrist, a memento from a childhood tumble, felt like a mark of vulnerability, a reminder of a time before the world began leaving its deeper imprints. "People adapt." She met his gaze, refusing to look away. His eyes, once full of restless energy, now held a hard, calculating glint. It was the look of a man who had seen too much and understood too little, or understood too much and cared not to. "Adapt," he echoed, tasting the word. "Or… compromise. There's a difference. You always prided yourself on principles." A low thrumming sound, barely audible above the bar's ambient noise, vibrated through the floorboards. Silas, his grey-streaked auburn hair catching the dim light, emerged from the dimly lit corridor at the back, his slight limp barely noticeable as he moved with quiet authority. He paused, his hazel eyes sweeping over his bar, his gaze lingering on Rory and the unexpected guest at her table. He offered a curt nod, his expression unreadable. Rory felt a surge of something akin to relief, a silent acknowledgement of a watchful presence. Finnigan’s smile faltered for a fraction of a second. "Is that… Silas? The owner?" "He is," Rory said, turning back to her glass. "He collects stories, old maps, and gentlemen's agreements." Finnigan traced the rim of his whisky glass. "I once wanted to be a barrister. Like your father. Argue for the right cause." He let out a short, sharp laugh. "Funny how life steers you. You end up making deals instead of arguments. And the stakes are decidedly higher." He drained his glass in one go. "Rory, I didn't just come here to reminisce. I hear you know London. The currents. The undercurrents." Rory’s hand stilled on the glass. "I know the streets from my deliveries. Nothing more." "That's precisely what I need to know," Finnigan pressed, his voice lowering, losing its forced pleasantry and sharpening to an edge. "There's a… private transit happening soon. Through Soho. High value, needs to be discreet. No attention from the local constabulary, no interference from… unexpected parties." He pushed a thick wad of crisp banknotes across the table. They landed with a soft thud, a stark white island against the dark mahogany. "This is a retainer. You live here. You hear things through the walls, watch the comings and goings. You tell me when the coast is clear. Double this when the job is done. Don't tell me it's not the Aurora Carter I knew. That girl was sensible. Don't waste it serving my whisky." Rory’s bright blue eyes, now cold and steady, locked onto his. She saw the desperation beneath the veneer of success, the rot that had set deep. She saw the ghost of the boy who dreamt of sailboats and ancient Greek, buried under layers of calculated sin. The scar on her wrist throbbed, a phantom itch. Silas’s footsteps echoed softly as he moved away, but Rory felt his gaze, a silent question hanging in the air between her and Finnigan. "What kind of transit, Finnigan?" she asked, her voice low, dangerous. "What exactly are you moving?" Finnigan leaned in, his pale eyes fixed on hers, the smile gone, replaced by a glint that was pure, unadulterated avarice. "Something very valuable, Rory. To the right people." Then, his head snapped up, his body stiffening. The shadows in the corner seemed to deepen, coalescing. A lean figure stood at the edge of the light, his silver signet ring catching the subtle glow from an overhead lamp. Silas Blackwood watched them, his hazel eyes missing nothing.
created_at"2026-02-25T01:04:38.433Z" 2/25/2026, 1:04:38 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1142
moderation_latency(null)
generation_time26565
tokens_prompt4618
tokens_completion4458
native_tokens_prompt4497
native_tokens_completion5545
native_tokens_completion_images0
native_tokens_reasoning3390
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"
usage0.0026677
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1142
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981478-w5ga2Bnh3iEe5uyanR9i"
upstream_id(null)
total_cost0.0026677
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
totalTags22
adverbTagCount2
adverbTags
0"He gestured vaguely [vaguely]"
1"Then his head snapped up [Then]"
dialogueSentences39
tagDensity0.564
leniency1
rawRatio0.091
effectiveRatio0.091
81.23% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1598
totalAiIsmAdverbs6
found
0
adverb"carefully"
count2
1
adverb"slowly"
count1
2
adverb"precisely"
count1
3
adverb"softly"
count1
4
adverb"very"
count1
highlights
0"carefully"
1"slowly"
2"precisely"
3"softly"
4"very"
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)
12.39% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1598
totalAiIsms28
found
0
word"comforting"
count1
1
word"familiar"
count2
2
word"etched"
count1
3
word"gleaming"
count1
4
word"stark"
count2
5
word"perfect"
count1
6
word"normalcy"
count1
7
word"sanctuary"
count1
8
word"predictable"
count1
9
word"calculated"
count2
10
word"predator"
count1
11
word"charm"
count1
12
word"echoed"
count3
13
word"navigating"
count1
14
word"reminder"
count1
15
word"calculating"
count1
16
word"glint"
count2
17
word"vibrated"
count1
18
word"unreadable"
count1
19
word"traced"
count1
20
word"throbbed"
count1
21
word"footsteps"
count1
highlights
0"comforting"
1"familiar"
2"etched"
3"gleaming"
4"stark"
5"perfect"
6"normalcy"
7"sanctuary"
8"predictable"
9"calculated"
10"predator"
11"charm"
12"echoed"
13"navigating"
14"reminder"
15"calculating"
16"glint"
17"vibrated"
18"unreadable"
19"traced"
20"throbbed"
21"footsteps"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"air was thick with"
count1
highlights
0"eyes narrowed"
1"The air was thick with"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences84
matches
0"felt a prickle"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences84
filterMatches(empty)
hedgeMatches
0"started to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences101
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen53
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1600
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1135
uniqueNames12
maxNameDensity1.23
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Rory14
Raven2
Nest2
Silas6
Old1
Yu-Fei1
Cheung1
London2
Cardiff2
Finnigan10
Greek1
Blackwood1
persons
0"Rory"
1"Raven"
2"Silas"
3"Old"
4"Yu-Fei"
5"Cheung"
6"Finnigan"
7"Greek"
8"Blackwood"
places
0"London"
1"Cardiff"
globalScore0.883
windowScore0.667
16.67% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount4
matches
0"quite reach his eyes"
1"looked like spies or smugglers"
2"felt like a mark of vulnerability, a re"
3"something akin to relief, a silent acknowledgem"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.625
wordCount1600
matches
0"not Silas, but a younger man Rory recognised from the evening shifts"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences101
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs31
mean51.61
std28
cv0.543
sampleLengths
068
16
293
317
449
554
633
782
856
945
1029
1170
1240
1370
1437
1560
1665
1728
1859
1971
2047
2117
2289
2314
2417
2573
2615
27124
2879
2916
3077
92.73% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences84
matches
0"was coiffed"
1"was replaced"
2"been engaged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs175
matches
0"was slowly crushing"
86.28% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences101
ratio0.02
matches
0"He signalled a passing barman – not Silas, but a younger man Rory recognised from the evening shifts."
1"She placed it on the counter, her reflection staring back at her – black hair pulled back, bright blue eyes, the faint crescent scar on her left wrist a pale crescent moon against her skin."
95.91% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount873
adjectiveStacks0
stackExamples(empty)
adverbCount39
adverbRatio0.044673539518900345
lyAdverbCount15
lyAdverbRatio0.01718213058419244
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences101
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences101
mean15.84
std8.72
cv0.55
sampleLengths
024
124
220
36
49
515
615
73
827
924
108
119
1213
1316
1420
159
1635
1710
1811
1922
2010
2127
2222
2313
2410
253
2612
2719
2822
2924
303
3118
327
3317
345
3521
3610
3718
3821
399
4018
4113
4212
4335
442
451
4620
4713
4824
4920
62.05% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.42574257425742573
totalSentences101
uniqueOpeners43
81.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences82
matches
0"Then, clear as a struck"
1"Then, his head snapped up,"
ratio0.024
24.88% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences82
matches
0"He was older, of course,"
1"it was there."
2"He wore a suit the"
3"He stepped fully into the"
4"His fingernails, usually bitten short"
5"He managed a grin, a"
6"He gestured vaguely, his movements"
7"He chuckled, a sound that"
8"He took another step forward,"
9"He wasn't wrong."
10"She didn't move."
11"She picked up the cloth"
12"It was a shield, a"
13"She felt a prickle of"
14"he said, sinking into a"
15"He signalled a passing barman"
16"He glanced at Rory"
17"She placed it on the"
18"She remembered the fierce idealism"
19"He’d called her a natural"
ratio0.488
2.68% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount75
totalSentences82
matches
0"The scent of cleaning fluid,"
1"A low hum of conversation,"
2"Rory paused mid-wipe, her bright"
3"A man stood by the"
4"He was older, of course,"
5"it was there."
6"Time had etched fine lines"
7"He wore a suit the"
8"The name felt alien on"
9"He stepped fully into the"
10"The vibrant energy from their"
11"His fingernails, usually bitten short"
12"He managed a grin, a"
13"He gestured vaguely, his movements"
14"Rory leaned the damp cloth"
15"He chuckled, a sound that"
16"He took another step forward,"
17"The air was thick with"
18"He wasn't wrong."
19"The Raven's Nest, with its"
ratio0.915
60.98% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences82
matches
0"Now, he just saw someone"
ratio0.012
45.45% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount6
matches
0"He wore a suit the colour of charcoal, impeccably tailored, the kind that belonged in boardrooms, not the smoky, history-laden atmosphere of Silas's bar."
1"Old maps depicting forgotten trade routes adorned one wall, juxtaposed with black-and-white photographs of stern-faced individuals who looked like spies or smug…"
2"Not like the girl who’d sworn to travel the world with Finnigan, to leave Cardiff and its suffocating familiarity behind."
3"She'd fled London from a life that was slowly crushing her, only to find herself still navigating shadows, albeit different ones."
4"It was the look of a man who had seen too much and understood too little, or understood too much and cared not to."
5"She saw the ghost of the boy who dreamt of sailboats and ancient Greek, buried under layers of calculated sin."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount6
matches
0"He gestured vaguely, his movements economical, precise"
1"He took, his gaze sweeping over the interior"
2"He took, his gaze intense"
3"she replied, her tone carefully neutral"
4"She met, refusing to look away"
5"she asked, her voice low, dangerous"
98.72% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount2
fancyTags
0"he murmured (murmur)"
1"Finnigan pressed (press)"
dialogueSentences39
tagDensity0.179
leniency0.359
rawRatio0.286
effectiveRatio0.103
76.4865%