Run: 2026-02-25-01KJ95PPPHQYGSPX8PEZ4PJE0J

Run Details

Duration:
31.9s
Cost:
$0.003728
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 cheap whisky burned a familiar path down Rory’s throat, a welcome counterpoint to the dull ache in her shoulders. Silas, from his perch behind the bar, polished a glass with the same methodical patience he applied to everything, the faint scent of lemon polish cutting through the stale air of The Raven’s Nest. It was a quiet Tuesday. Too quiet. Then the heavy oak door swung inward, and the low murmur of conversation faltered, as if a spotlight had suddenly, unexpectedly, landed on the newcomer. Rory barely registered the face at first; it was the *aura* that snagged her attention. A sharpness, a tailored precision that felt alien in this comfortable gloom. It was a stillness that spoke of coiled energy, not relaxation. The woman paused on the worn Persian rug, her gaze sweeping the room with an unnerving lack of hesitation. Straight black hair, styled with architectural perfection, framed a face that was both familiar and startlingly altered. Wider eyes, perhaps, or tightened skin. The kind of change that didn't come from a good night's sleep. As her eyes landed on Rory, a faint, almost imperceptible flicker crossed her features. Recognition? Or assessment? The slight limp in Silas’s gait as he moved towards the newcomer was the only disruption in the room's sudden, collective intake of breath. He’d seen it all before. Rory, however, felt a cold knot tighten in her stomach. That coat. That posture. "Evening," Silas said, his voice a low rumble. "Table for one, or...?" The woman’s lips curved into a smile that didn’t quite reach her eyes. "Silas. Still holding court?" Her voice, once bright and hopeful, now held an edge of polished steel. "A table would be lovely. And a quiet corner, if possible." Rory watched, rooted to her stool, the ice in her drink melting unnoticed. The name had been Eleanor. Eleanor Vance. They'd shared lectures, cheap student wine, and dreams of cracking futures that felt impossibly bright, impossibly far away. That was a lifetime ago. "She always hated crowds," Rory murmured to herself, not even realising she’d spoken aloud. Silas glanced over, his hazel eyes giving nothing away, and gave a minute nod that told Rory he'd understood. He often did. She settled deeper onto her stool, her back to the main room, facing the patterned wall of antique maps. Eleanor was shown to the booth farthest from the door, a shadowed alcove where the dim lighting seemed to absorb rather than illuminate. Rory found herself pushing off her stool, the half-finished drink suddenly tasting sour. It was an involuntary movement, a tug back through the years. She approached the booth just as Eleanor was settling in, a perfectly manicured hand smoothing the dark velvet. Rory stopped a few feet away, suddenly acutely aware of her worn jeans, the faint smell of exhaust fumes clinging to her delivery jacket. "Eleanor?" The woman looked up. The polished steel in her voice was still there, but a different inflection now. A soft surprise. "Rory. My God. Is it really you?" She tilted her head, appraising Rory from head to toe, and that flicker of something unreadable crossed her face again. "You haven’t… changed much." It was a lie. A clumsy, obvious lie. Rory had. The careless grace was gone, replaced by a weary resilience. The spark that had once danced in her bright blue eyes was banked, overshadowed by a perpetual watchfulness. But Eleanor… Eleanor had shed her skin entirely. She wore her life like an armour piece – pristine, expensive, and utterly impenetrable. "You have," Rory replied, her voice steady. "Quite a lot." Eleanor gave a short, sharp laugh, a sound like ice shards. "Time does that, doesn't it? Makes its mark." She gestured with a long, elegant finger. "Sit. Please. Silas said a table for one… I didn't expect company. Especially not *you*." There was a beat of silence. "Last I heard, you were… somewhere else. London, wasn't it?" *Somewhere else* hung in the air, a deliberate vagueness that Rory understood. Eleanor had dropped out of their shared orbit years ago, fading into an abyss from which nothing concrete had ever emerged, until now. Rory slid into the bench opposite Eleanor, the worn leather cool against her back. A waitress, not Silas, appeared almost immediately, her movements efficient and unobtrusive. "Whisky for me," Rory said, her gaze flickering to Eleanor. "Neat." "Champagne," Eleanor said, without glancing at the waitress. "The brut. And make it chilled. Very chilled." The waitress retreated. The silence that descended was thick with unspoken questions, a chasm carved by a decade of silence. Rory traced the small, crescent-shaped scar on her left wrist. A forgotten childhood tumble. Such small injuries mapped the contours of a life, or so she used to think. "So," Rory began, breaking the quiet. "Since South Wales. That doesn't seem like the whole story." Eleanor swirled the water in the glass the waitress had placed before her. The ice clinked softly, a counter-rhythm to the distant street noise. "What story? The law degree you abandoned? I heard you left Cardiff for London. Ran away, some rumoured." There it was. The barb. Rory felt a familiar clench deep in her gut. "I left to build my own life, Eleanor. Not the one my father planned, or the one Evan tried to break apart." She met Eleanor’s gaze directly. "What about you? You disappeared. Completely. Then suddenly you're here, in Silas's discreet establishment, ordering the finest champagne. What happened in between?" Eleanor took a slow sip of her water. "I learned to be pragmatic, Rory. To see the world not as it *should* be, but as it *is*. The law… it can be a blunt instrument, but it’s also a shield. Or a weapon, depending on whose hand wields it. I simply found a more… direct application." "Direct application?" Rory leaned forward. "What does that even mean?" Eleanor’s smile returned, sharper this time. "It means I understood, early on, that talent and ambition are worthless without leverage. Without understanding who holds the cards. And more importantly, how to *take* them." She traced the rim of her glass. "You always had the sharpest mind, Rory. The one that saw angles nobody else did. I envied that. And I learned from it. Taught myself to see the angles myself." Rory felt a chill that had nothing to do with Eleanor’s champagne. "You sound like you're talking about something other than legal practice." "Perhaps I am." Eleanor’s eyes fixed on Rory. "You're still working for that Chinese restaurant, aren't you? Delivering their noodles. Living above a bar in Soho." It wasn’t a question, but an accusation. A statement of Rory’s perceived failure. "Such a waste of potential. You could have been… so much more." The whisky arrived, and Rory welcomed the burn again. "I do what I have to do. It keeps the lights on. It's honest." "Honest," Eleanor scoffed, the sound barely audible. "Such a quaint notion. What does honesty buy you, Rory? A damp flat? A boss who watches you like a hawk?" Silas. He did watch her, in his own way, but it was different. Protective. Concerned. Not possessive. "It buys me sleep," Rory retorted, her temper beginning to fray. "And it buys me the right to look myself in the mirror." Eleanor leaned back against the velvet, a predator settling into its territory. Her gaze flickered past Rory towards Silas, who was, as she’d noted, watching them with an almost imperceptible stillness. Eleanor’s eyes narrowed fractionally before returning to Rory. "You always were too sentimental, Rory," she said, her voice dropping, becoming conspiratorial. "Too afraid to get your hands dirty. But people like us, Rory, people who *matter*, we don't get to afford that luxury. The world doesn't reward caution. It rewards… initiative. Boldness. Taking what's yours by right." The champagne arrived, a delicate flute filled with pale gold bubbles. Eleanor accepted it with a nod. She took a long, slow sip, her eyes never leaving Rory’s. "I have a proposition for you, Rory," Eleanor said, the words delivered as smoothly as the champagne. "It's about leveraging that sharp mind of yours. The one I admired so much. There are opportunities… out there. Far beyond delivering lukewarm lo mein." Rory felt a prickle of unease crawl up her spine. This wasn't just a social call. "What kind of opportunities?" Eleanor leaned forward again, the expensive fabric of her dress rustling. Her perfume, something heavy and floral, cut through the bar’s usual scents of stale beer and polish. "Opportunities that require discretion. Intelligence. Someone who can think on their feet. Someone who isn't afraid to bend the rules… or break them entirely. The kind of work Silas probably used to do, but on a much grander scale. For people with truly significant… interests." She paused, letting the implication hang in the air. Rory felt her heart beginning to pound. Silas’s glances were becoming more frequent, more pointed. He’d sensed it too. The shift. The immediate danger. "Rory," Eleanor continued, her voice now a silken whisper. "They pay handsomely. Enough to silence any lingering regrets about Cardiff. Enough to buy you whatever you desire. All you have to do is say yes." Eleanor reached across the small table, her perfectly manicured fingers hovering just above Rory's scarred wrist. "Don't you want a life beyond this dreary little bar, Rory? Don't you want what you always dreamed of?" At that moment, the door to the secret room behind the bookshelf, a door Rory had only ever seen Silas use himself, creaked open an inch. A sliver of light, far brighter than the bar's dim glow, spilled out from the gap. Silas, without breaking his posture as he pretended to wipe a counter, subtly shifted his weight, blocking the view more effectively. Eleanor’s gaze, sharp and predatory, flickered towards the sound for a fraction of a second. Her smile tightened. "Or perhaps," Eleanor purred, her eyes locking back onto Rory with unnerving intensity, "you've already made your choice. And perhaps," she added, her tone dropping to a dangerous murmur, "that choice has consequences. For both of us." The champagne flute in Eleanor's hand trembled, not from anything Rory had said, but from some unseen pressure emanating from the room behind Silas, or perhaps from the very air around them. The sliver of light from the secret room widened slightly, and a shadow detached itself from the doorway.
created_at"2026-02-25T01:13:06.521Z" 2/25/2026, 1:13:06 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1285
moderation_latency(null)
generation_time31803
tokens_prompt4618
tokens_completion6289
native_tokens_prompt4497
native_tokens_completion8196
native_tokens_completion_images0
native_tokens_reasoning5837
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"
usage0.0037281
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1285
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981986-f7SHuW5QC5VrL8HvVJki"
upstream_id(null)
total_cost0.0037281
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
totalTags19
adverbTagCount0
adverbTags(empty)
dialogueSentences46
tagDensity0.413
leniency0.826
rawRatio0
effectiveRatio0
59.72% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1738
totalAiIsmAdverbs14
found
0
adverb"suddenly"
count4
1
adverb"perfectly"
count2
2
adverb"really"
count1
3
adverb"utterly"
count1
4
adverb"very"
count2
5
adverb"softly"
count1
6
adverb"completely"
count1
7
adverb"truly"
count1
8
adverb"slightly"
count1
highlights
0"suddenly"
1"perfectly"
2"really"
3"utterly"
4"very"
5"softly"
6"completely"
7"truly"
8"slightly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1738
totalAiIsms35
found
0
word"familiar"
count3
1
word"methodical"
count1
2
word"comfortable"
count1
3
word"gloom"
count1
4
word"flicker"
count2
5
word"stomach"
count1
6
word"velvet"
count2
7
word"unreadable"
count1
8
word"pristine"
count1
9
word"silence"
count4
10
word"efficient"
count1
11
word"chilled"
count2
12
word"unspoken"
count1
13
word"traced"
count2
14
word"chill"
count1
15
word"potential"
count1
16
word"predator"
count1
17
word"flickered"
count2
18
word"leveraging"
count1
19
word"implication"
count1
20
word"whisper"
count1
21
word"desire"
count1
22
word"weight"
count1
23
word"intensity"
count1
24
word"trembled"
count1
highlights
0"familiar"
1"methodical"
2"comfortable"
3"gloom"
4"flicker"
5"stomach"
6"velvet"
7"unreadable"
8"pristine"
9"silence"
10"efficient"
11"chilled"
12"unspoken"
13"traced"
14"chill"
15"potential"
16"predator"
17"flickered"
18"leveraging"
19"implication"
20"whisper"
21"desire"
22"weight"
23"intensity"
24"trembled"
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 in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences115
matches
0"felt a chill"
1"felt a prickle"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences115
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tended to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans7
markdownWords8
totalWords1739
ratio0.005
matches
0"aura"
1"you"
2"Somewhere else"
3"should"
4"is"
5"take"
6"matter"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions77
wordCount1185
uniqueNames8
maxNameDensity2.78
worstName"Rory"
maxWindowNameDensity5.5
worstWindowName"Rory"
discoveredNames
Rory33
Raven1
Nest1
Tuesday1
Persian1
Silas11
Eleanor28
Vance1
persons
0"Rory"
1"Raven"
2"Silas"
3"Eleanor"
4"Vance"
places(empty)
globalScore0.108
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount1
matches
0"quite reach her eyes"
84.99% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.15
wordCount1739
matches
0"not as it *should* be, but as it *is*"
1"not from anything Rory had said, but from some unseen pressure emanating from the room behind Sil"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences138
matches(empty)
98.59% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs40
mean43.48
std21.52
cv0.495
sampleLengths
061
163
271
343
412
541
643
755
847
942
101
1152
1260
1310
1492
1526
1627
1749
1816
1942
2063
2156
2210
2370
2423
2551
2623
2745
2823
2939
3049
3128
3242
3320
3473
3533
3635
3735
3881
3987
96.11% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences115
matches
0"was shown"
1"was gone"
2"was banked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs189
matches
0"was settling"
1"were becoming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount1
flaggedSentences2
totalSentences138
ratio0.014
matches
0"Rory barely registered the face at first; it was the *aura* that snagged her attention."
1"She wore her life like an armour piece – pristine, expensive, and utterly impenetrable."
84.59% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1187
adjectiveStacks1
stackExamples
0"small, crescent-shaped scar"
adverbCount60
adverbRatio0.05054759898904802
lyAdverbCount24
lyAdverbRatio0.020219039595619208
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean12.6
std9.23
cv0.733
sampleLengths
020
134
25
32
425
515
612
711
819
917
106
1112
1214
131
142
1524
165
1710
182
192
208
214
2213
2317
2411
2513
265
272
2818
295
3014
3119
323
3319
3423
3513
3611
3718
3824
391
404
4114
423
4327
444
454
464
472
4810
4918
50.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.3333333333333333
totalSentences138
uniqueOpeners46
99.01% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences101
matches
0"Then the heavy oak door"
1"Somewhere else* hung in the"
2"Such small injuries mapped the"
ratio0.03
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences101
matches
0"It was a quiet Tuesday."
1"It was a stillness that"
2"He’d seen it all before."
3"Her voice, once bright and"
4"They'd shared lectures, cheap student"
5"He often did."
6"She settled deeper onto her"
7"It was an involuntary movement,"
8"She approached the booth just"
9"She tilted her head, appraising"
10"It was a lie."
11"She wore her life like"
12"She gestured with a long,"
13"She met Eleanor’s gaze directly"
14"She traced the rim of"
15"It wasn’t a question, but"
16"He did watch her, in"
17"Her gaze flickered past Rory"
18"she said, her voice dropping,"
19"She took a long, slow"
ratio0.238
4.55% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount92
totalSentences101
matches
0"The cheap whisky burned a"
1"Silas, from his perch behind"
2"It was a quiet Tuesday."
3"Rory barely registered the face"
4"A sharpness, a tailored precision"
5"It was a stillness that"
6"The woman paused on the"
7"The kind of change that"
8"The slight limp in Silas’s"
9"He’d seen it all before."
10"Rory, however, felt a cold"
11"Silas said, his voice a"
12"The woman’s lips curved into"
13"Her voice, once bright and"
14"Rory watched, rooted to her"
15"The name had been Eleanor."
16"They'd shared lectures, cheap student"
17"That was a lifetime ago."
18"Rory murmured to herself, not"
19"Silas glanced over, his hazel"
ratio0.911
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences101
matches(empty)
ratio0
16.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount9
matches
0"Then the heavy oak door swung inward, and the low murmur of conversation faltered, as if a spotlight had suddenly, unexpectedly, landed on the newcomer."
1"A sharpness, a tailored precision that felt alien in this comfortable gloom."
2"Straight black hair, styled with architectural perfection, framed a face that was both familiar and startlingly altered."
3"They'd shared lectures, cheap student wine, and dreams of cracking futures that felt impossibly bright, impossibly far away."
4"Silas glanced over, his hazel eyes giving nothing away, and gave a minute nod that told Rory he'd understood."
5"The spark that had once danced in her bright blue eyes was banked, overshadowed by a perpetual watchfulness."
6"The silence that descended was thick with unspoken questions, a chasm carved by a decade of silence."
7"Her gaze flickered past Rory towards Silas, who was, as she’d noted, watching them with an almost imperceptible stillness."
8"Silas, without breaking his posture as he pretended to wipe a counter, subtly shifted his weight, blocking the view more effectively."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount9
matches
0"Silas said, his voice a low rumble"
1"Rory murmured, not even realising she’d spoken aloud"
2"Rory replied, her voice steady"
3"Rory said, her gaze flickering to Eleanor"
4"Eleanor said, without glancing at the waitress"
5"Eleanor scoffed, the sound barely audible"
6"she said, her voice dropping, becoming conspiratorial"
7"Eleanor said, the words delivered as smoothly as the champagne"
8"Eleanor purred, her eyes locking back onto Rory with unnerving intensity,"
84.78% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount3
fancyTags
0"Rory murmured (murmur)"
1"Rory retorted (retort)"
2"Eleanor continued (continue)"
dialogueSentences46
tagDensity0.196
leniency0.391
rawRatio0.333
effectiveRatio0.13
74.8770%