Run: 2026-02-25-01KJ95CXV6BE1EQWGZ42T4WDNT

Run Details

Duration:
27.7s
Cost:
$0.002753
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 hiss of the beer pump was a soundtrack familiar to Rory, a lulling counterpoint to the murmur of Soho nights filtering through The Raven's Nest. Silas, a silhouette etched against the dim glow of the back bar, polished a tumbler with slow, deliberate strokes, his silver signet ring catching the light with each turn. Rory watched the amber liquid slosh gently against the ice in her glass, the condensation tracing a cold path down her fingers. This was her quiet corner, a place where the delivery routes and the city's sharp edges softened, at least for a moment. She’d finished her shift an hour ago, the scent of cheap noodles still clinging faintly to her uniform beneath the borrowed jacket, but the urge to simply sit, watch, and listen in the cathedral of half-truths and hushed confessions Silas curated, kept her tethered. The heavy oak door groaned open, momentarily eclipsing the neon glow of 'The Raven's Nest' sign. A gust of damp night air, carrying the ghost of exhaust fumes and distant sirens, swept in. Then the door swung shut, leaving behind a figure silhouetted against the muted interior light. Rory’s breath caught. The man who stepped fully into view, brushing invisible dust from an expensive, tailored navy coat, was a ghost. Liam Walsh. He hadn't changed; he had calcified. The lanky youth from Cardiff, all restless energy and bright-eyed ambition that promised to either conquer the world or crash and burn spectacularly, was now sculpted into something sharp, polished, and unnervingly still. His suit appeared carved from diamond, the fabric impossibly smooth, but his eyes, once the colour of a bright summer sky, were now clouded, a dull, restless grey that seemed to scan and dismiss everyone and everything with a practiced, weary air. He paused by the entrance, his gaze sweeping across the room, a subtle twitch at the corner of his mouth before it landed on Rory. Recognition bloomed, or perhaps suspicion, followed by a slow, predatory smile that didn't reach those grey eyes. "Rory?" His voice, deeper now, carried an edge of smooth entitlement that grated. "Is that really you?" She pushed herself away from the counter, the worn trainers of her uniform shoes making little sound on the scuffed floor. A faint crescent scar on her left wrist, a childhood memento, felt suddenly prominent under the low light. "Liam. Fancy meeting you here." He navigated the sparse tables with the confident stride of someone accustomed to open spaces, not the cramped confines of a Soho dive. He stopped before her, his gaze raking over her changed appearance – the practical clothes, the subtle toughness that years of navigating London's underbelly had etched into her posture. "Here? In a place like this? I thought you’d be… I don't know, running your own empire by now. Or at least managing one of those sterile corporate skyscrapers." He stopped a breath away, the scent of expensive cologne battling with the bar's inherent aroma of stale ale and old secrets. "You always did have that spark. The one that said you wouldn't be contained." "Some of us like seeing what the world looks like from down here, Liam." She gestured to the glass he held, untouched. "What brings you to my… empire?" He finally secured a table near the back, away from the main thoroughfare, a booth upholstered in cracked, crimson leather. Silas, behind the bar, merely nodded towards them, his own presence a solid, imperturbable anchor in the shifting tides of the clientele. Liam sat, his movements precise. "Business. Passing through. Had a meeting cancelled, thought I’d retrace some old steps. See what London’s really made of." He chuckled, a dry, rasping sound. "Though I must admit, this particular haunt is… unexpected. Still haven't found anything better than a well-worn map and a whispered confidence, eh, Rory?" His eyes flickered towards the walls plastered with antique cartography and faded photographs. "Old habits," Rory said, sliding into the opposite seat. She caught Silas’s eye for a fleeting second; he gave a barely perceptible nod, his expression unreadable. "Some are harder to shake than others. You seem to have shed yours quite effectively." She watched him, her mind cataloguing the subtle signs: the tightness around his jaw, the way his manicured fingers drummed a silent, irregular rhythm on the table’s surface, the almost imperceptible flinching when the outer door opened again, letting in a brief cacophony of city noise. "It’s called adapting, Rory. Growing. You stay in one place too long, you stagnate. You become yesterday's news." He leaned forward, his voice dropping, though not quite to a whisper. "I deal in futures now. Not the 'maybe one day' kind you and I used to draw up in dusty pubs in Cardiff. The real kind. Guaranteed returns. High stakes." "Guaranteed?" Rory’s bright blue eyes narrowed, a familiar glint of curiosity mixed with caution. "Sounds like a rare commodity these days." "For those of us who know how to procure it, it’s commonplace." He lifted his glass to her, a toast that felt more like a challenge. "To futures, then. And to leaving the past where it belongs." The liquid remained untouched, the ice clinking softly as his hand trembled faintly. "What about the cost, Liam?" The question slipped out, too quickly, too directly. She saw a flicker of something raw in his eyes, a swift, unwelcome shadow. He’d always been afraid of what he couldn’t control, and Cardiff had taught Rory precisely how much that fear could curdle ambition. His smile tightened, a brittle thing. "Cost? There's always a cost. But some men are more than willing to pay it, for the right kind of power. For the right kind of security." He glanced around the bar again, his gaze lingering on Silas, then darting towards the door. "You're still working for him, aren't you? The old spy?" Rory felt a cold knot form in her stomach. Silas wasn't just 'the old spy' to her; he was a lifeline, the quiet architect of her precarious stability. "I deliver for Master Cheung. Silas offers me a room and a roof. It’s a fair trade." "Fair?" Liam scoffed, his veneer cracking further. "Rory, you’re wasting yourself. Delivering parcels? He’s old. He’s retired. Whatever network he thinks he’s running here is a game. I’m playing for keeps. My clients… they don't play games. They expect results. And they don't like loose ends." The unspoken accusation hung heavy in the air. Rory felt a prickle of unease crawl up her spine. Liam’s definition of 'growing' and 'adapting' was clearly a descent into a ledger of compromised souls. "What are you trying to say, Liam?" He winced, running a hand through his immaculately styled hair. He looked utterly exhausted, despite the tailored suit. "Just… be careful. This city… it chews people up. Especially those who think they can observe it without getting bitten. You’re smart, Rory. Smarter than me, maybe. But this world I’m in… it’s sticky. Once you’re caught, it pulls you under, no matter how much you swim." He suddenly reached into his inner coat pocket, his movements frantic, clumsy. He pulled out a small, leather-bound notebook, its edges worn smooth. He shoved it across the table, sliding it towards her. "Take this. For safekeeping. You're good at safekeeping things, aren't you? Better than me." Rory looked at the notebook, then at Liam’s terrified, pleading eyes. It wasn't the confident, ambitious Liam she knew, but a desperate man trapped in a gilded cage of his own making. Before she could touch it, the main door of The Raven's Nest swung open with a violent creak. Three men, broad-shouldered and dressed in indistinguishable dark suits, stepped inside. Their eyes didn't scan the room; they fixed immediately on Liam. A hush fell over the few other patrons, each one instinctively shrinking into the shadows. Silas, from behind the bar, stopped polishing his glass. His slight limp became more pronounced as he turned, his hand moving with deceptive calm towards a recess beneath the counter. Liam's face went ghastly white. He snatched the notebook back, clutching it to his chest as if it were a shield. "They found me," he whispered, his voice a raw tremor. "They know I have it." He shoved the notebook back towards Rory with renewed urgency. "You have to… you have to run. Get this out. Don't let them…" His words died as the nearest of the suited men took a step forward, his eyes locked onto Liam, not Rory. Silas emerged from behind the bar, his pace unhurried but purposeful, a silver glint from his hand catching the dim light. Liam looked from the approaching men to Rory, his eyes wide with a terror that far surpassed anything she’d ever seen in Cardiff. "Who are they?" Rory managed, her voice low, her hand instinctively going to her scarred wrist.
created_at"2026-02-25T01:07:46.159Z" 2/25/2026, 1:07:46 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1124
moderation_latency(null)
generation_time27674
tokens_prompt4618
tokens_completion4026
native_tokens_prompt4497
native_tokens_completion5757
native_tokens_completion_images0
native_tokens_reasoning3780
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"
usage0.0027525
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1122
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981666-0JgxKUl3rCRKP7xHzmWP"
upstream_id(null)
total_cost0.0027525
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
totalTags17
adverbTagCount1
adverbTags
0"He glanced around [around]"
dialogueSentences30
tagDensity0.567
leniency1
rawRatio0.059
effectiveRatio0.059
69.57% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1479
totalAiIsmAdverbs9
found
0
adverb"gently"
count1
1
adverb"really"
count2
2
adverb"suddenly"
count2
3
adverb"softly"
count1
4
adverb"quickly"
count1
5
adverb"precisely"
count1
6
adverb"utterly"
count1
highlights
0"gently"
1"really"
2"suddenly"
3"softly"
4"quickly"
5"precisely"
6"utterly"
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)
39.15% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1479
totalAiIsms18
found
0
word"familiar"
count2
1
word"etched"
count2
2
word"tracing"
count1
3
word"navigated"
count1
4
word"navigating"
count1
5
word"flickered"
count1
6
word"fleeting"
count1
7
word"unreadable"
count1
8
word"cacophony"
count1
9
word"whisper"
count1
10
word"glint"
count2
11
word"trembled"
count1
12
word"flicker"
count1
13
word"stomach"
count1
14
word"unspoken"
count1
highlights
0"familiar"
1"etched"
2"tracing"
3"navigated"
4"navigating"
5"flickered"
6"fleeting"
7"unreadable"
8"cacophony"
9"whisper"
10"glint"
11"trembled"
12"flicker"
13"stomach"
14"unspoken"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"hung in the air"
count1
highlights
0"eyes narrowed"
1"hung heavy in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences67
matches
0"felt a prickle"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences67
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences79
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen61
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1480
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1044
uniqueNames9
maxNameDensity1.34
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Liam"
discoveredNames
Rory14
Soho2
Raven2
Nest2
Silas8
Walsh1
Cardiff3
London1
Liam10
persons
0"Rory"
1"Raven"
2"Nest"
3"Silas"
4"Walsh"
5"Liam"
places
0"Soho"
1"Cardiff"
2"London"
globalScore0.83
windowScore0.667
68.03% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences61
glossingSentenceCount2
matches
0"appeared carved from diamond, the fabric impossibly smooth, but his eyes, once the colour of a bright summer sky, were now clouded, a dull, restless grey that seemed to scan and dismiss everyone and everything with a practiced, weary air"
1"not quite to a whisper"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1480
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences79
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs21
mean70.48
std38.33
cv0.544
sampleLengths
0143
172
2123
317
444
581
636
728
8109
987
1060
1121
1250
1349
1459
1545
1646
1741
18112
19117
20140
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences67
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs164
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount4
flaggedSentences5
totalSentences79
ratio0.063
matches
0"He hadn't changed; he had calcified."
1"He stopped before her, his gaze raking over her changed appearance – the practical clothes, the subtle toughness that years of navigating London's underbelly had etched into her posture."
2"She caught Silas’s eye for a fleeting second; he gave a barely perceptible nod, his expression unreadable."
3"Silas wasn't just 'the old spy' to her; he was a lifeline, the quiet architect of her precarious stability."
4"Their eyes didn't scan the room; they fixed immediately on Liam."
77.92% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount539
adjectiveStacks0
stackExamples(empty)
adverbCount34
adverbRatio0.06307977736549165
lyAdverbCount12
lyAdverbRatio0.022263450834879406
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences79
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences79
mean18.73
std11.72
cv0.625
sampleLengths
026
129
222
322
444
516
617
715
83
919
102
116
1233
1342
1425
1517
1613
174
1821
1918
205
2123
2229
2329
2422
2514
2622
276
2820
2922
305
3125
3237
339
3417
3561
3630
3730
3814
397
4026
4124
4213
4314
4422
456
4643
4710
489
4919
66.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.43037974683544306
totalSentences79
uniqueOpeners34
50.51% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences66
matches
0"Then the door swung shut,"
ratio0.015
20.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences66
matches
0"She’d finished her shift an"
1"He hadn't changed; he had"
2"His suit appeared carved from"
3"He paused by the entrance,"
4"His voice, deeper now, carried"
5"She pushed herself away from"
6"He navigated the sparse tables"
7"He stopped before her, his"
8"He stopped a breath away,"
9"She gestured to the glass"
10"He finally secured a table"
11"He chuckled, a dry, rasping"
12"His eyes flickered towards the"
13"She caught Silas’s eye for"
14"She watched him, her mind"
15"He leaned forward, his voice"
16"He lifted his glass to"
17"She saw a flicker of"
18"He’d always been afraid of"
19"His smile tightened, a brittle"
ratio0.5
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount63
totalSentences66
matches
0"The hiss of the beer"
1"Silas, a silhouette etched against"
2"Rory watched the amber liquid"
3"This was her quiet corner,"
4"She’d finished her shift an"
5"The heavy oak door groaned"
6"A gust of damp night"
7"Rory’s breath caught."
8"The man who stepped fully"
9"He hadn't changed; he had"
10"The lanky youth from Cardiff,"
11"His suit appeared carved from"
12"He paused by the entrance,"
13"Recognition bloomed, or perhaps suspicion,"
14"His voice, deeper now, carried"
15"She pushed herself away from"
16"A faint crescent scar on"
17"He navigated the sparse tables"
18"He stopped before her, his"
19"He stopped a breath away,"
ratio0.955
75.76% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences66
matches
0"Before she could touch it,"
ratio0.015
43.65% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount5
matches
0"The man who stepped fully into view, brushing invisible dust from an expensive, tailored navy coat, was a ghost."
1"The lanky youth from Cardiff, all restless energy and bright-eyed ambition that promised to either conquer the world or crash and burn spectacularly, was now sc…"
2"Recognition bloomed, or perhaps suspicion, followed by a slow, predatory smile that didn't reach those grey eyes."
3"He stopped before her, his gaze raking over her changed appearance – the practical clothes, the subtle toughness that years of navigating London's underbelly ha…"
4"He snatched the notebook back, clutching it to his chest as if it were a shield."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount6
matches
0"She gestured, untouched"
1"He leaned, his voice dropping, though not quite to a whisper"
2"The liquid remained, the ice clinking softly as his hand trembled faintly"
3"He glanced around, his gaze lingering on Silas, then darting towards the door"
4"Liam scoffed, his veneer cracking further"
5"he whispered, his voice a raw tremor"
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"The heavy oak door groaned (groan)"
1"He chuckled (chuckle)"
2"he whispered (whisper)"
dialogueSentences30
tagDensity0.133
leniency0.267
rawRatio0.75
effectiveRatio0.2
73.1529%