Run: 2026-02-25-01KJ95PVT4AARAAJ60SEE2ETDW

Run Details

Duration:
20.6s
Cost:
$0.010629
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 fizzing pump handle bit into Rory's palm, a familiar, rhythmic ache. She pulled a pint of stout, watching the dark liquid cascade into the glass, a miniature tempest in amber light. The bar pulsed with the usual Friday night hum, a low thrum of murmurs and clinking bottles that Silas usually curated with the precision of a clockmaker. Then the hum faltered, a discordant note slicing through the din. Rory didn't see it, she felt it, a sudden shift in the air, a cold weight pressing in. She set the full glass on the coaster for a waiting customer, her gaze drifting unconsciously towards the glass-panelled door as if drawn by a magnetic pull. A woman stood there, paused just past the threshold, framed by the neon-green sign of the Raven’s Nest. Her tailored navy coat, cut sharp and unforgiving, seemed to drink the low light, reflecting none of it. She scanned the room, a slow, deliberate sweep that skipped over faces, over couples entangled in conversation, over the solitary drinkers hunched over their spirits. And then her eyes landed on Rory. A flicker, a ghost of recognition, widened those calculating dark eyes. The woman's lips, painted a meticulous ruby red, stretched into a thin, slow smile. Rory felt the muscles in her jaw tighten. Her mind screamed words she hadn’t uttered in years, names she’d buried under layers of London dust and forced forgetfulness. "Laila?" The name was a whisper, a strange echo from a life Rory had long discarded. It felt foreign, a costume she’d shed. Even the way it was pronounced, with that soft, almost lyrical lilt, dragged her back, pulling at the edges of a grief barely contained. She clenched her free hand under the bar, her crescent-shaped scar on her left wrist tingling. "Theresa." Rory's voice was steadier than she felt, a low murmur of surprise. The woman, Theresa, moved then, a deliberate grace in her stride as she wove through the tables. Her leather heels clicked a sharp counterpoint to the bar’s blues track. She stopped before the bar, close enough for Rory to catch the subtle, expensive scent of her perfume, a fragrance that spoke of distant cities and high-thread-count sheets. "Well, well, well," Theresa said, her gaze sweeping over Rory’s uniform, the dark apron, the simple black t-shirt. "Look at you. Slumming it, are we?" Rory met her stare, her own bright blue eyes betraying nothing. "It pays the bills. Better than some alternatives." Theresa's smile didn't waver, but a hardness settled in her eyes. "Always the blunt one. I remember that." She looked around The Raven's Nest, a tiny wrinkle of distaste forming between her perfectly shaped brows. "This is... quaint." "It has character." "Indeed. A kind of dusty, forgotten character, perhaps." Theresa placed a small, silver clutch bag on the polished wood of the bar. Its clasp gleamed under the soft lights. "Whisky. Scotch. Single malt. Something peaty." Rory reached for a bottle without comment, her movements fluid and practiced. The clink of ice against glass, the measured pour, filled the momentary silence. Silas, from his usual corner stool, was now watching them with an unsettling intensity. His hazel eyes, usually veiled by a retiree's mildness, were sharp, a predator’s careful assessment. "Still pouring drinks?" Theresa took a sip, a tiny bead of amber liquid clinging to her lip. She dabbed it with a pristine napkin. "Thought you'd be... doing something more. You know. Impactful." "Life takes turns." Rory wiped down the counter between them, a barrier of clean wood. "London's big. Hard to make an 'impact' when you're starting from scratch." "Oh, I wouldn't know about that. Some of us manage perfectly well, even without the family name to fall back on." Theresa’s words were sweet as poison. Rory flinched inwardly. The "family name" was a thinly veiled jab at Rory's flight from Cardiff, and, more specifically, from Evan. "You're doing well, then?" Rory asked, deflecting. "Excellently." Theresa’s tone softened, a practiced performance. "New firm. Head of the legal department, actually. Long hours, but the compensation is rather... suitable." "The law firm? The one you always talked about." Theresa chuckled, a brittle sound that grated against the warm murmur of the bar. "The very one. It's funny, actually. They almost didn't hire me. Said I lacked 'grit.' Can you imagine?" She paused. "I told them about Evan. About everything you went through. You know, to show I understood tenacity. Adversity." Rory’s breath hitched. She tightened her grip on the cloth, the fibres digging into her palm. "You talked about Evan?" "Well, of course." Theresa took another dainty sip of her whisky. "It was quite the story, wasn't it? My poor friend, trapped with that monster. And then her incredible escape, leaving everything behind." Her eyes, though, were cold, devoid of sympathy. "It certainly made an impression." "It wasn't a story, Theresa. It was my life." "Details, details." Theresa waved a dismissive hand. "The point is, it illustrated my point perfectly. Resilience. Overcoming obstacles." She leaned in conspiratorially, her voice dropping to a theatrical whisper. "Not everyone has such vivid examples to draw from, do they? It gave me an edge." The air between them grew thick, charged with unspoken resentments. The bar’s ambient noise seemed to fade into a dull roar. Rory looked past Theresa, catching Silas's gaze. He raised an eyebrow, a silent question. She gave an almost imperceptible shake of her head. "So, you used my trauma." "I used an anecdote," Theresa corrected, her tone sharp. "A shared experience, if you will. We were all there, weren't we? Watching it unravel. Helpless." A flicker of genuine emotion finally broke through her composed facade, a flash of something akin to hurt, quickly masked by anger. "And then you just... vanished. Left us to pick up the pieces." "I left *him*," Rory countered, her voice low and dangerous. "I left a man who beat me. I didn't leave you." "Did you not?" Theresa’s voice hardened further, a fragile porcelain doll shattering. "A note taped to the fridge. That was it. No call. No goodbye. Just gone. You think that didn't affect anyone else, Laila? You think your disappearing act didn't leave a gaping hole for those of us who cared?" A sharp pain lanced through Rory, a forgotten ache resurfacing. "I had to go. You know what he was like. I couldn't risk him finding me." "And what about *us*?" Theresa slammed her glass on the bar, the fragile crystal rattling. The loud thud cut through the music, stealing the attention of the nearest patrons. "What about the messes *we* had to clean up?" Just then, a man, broad-shouldered and loud, approached the bar, his booming laugh echoing. "Oi, love! Another one of those, eh? Make it quick, the lads are thirsty!" Theresa recoiled, her face a mask of revulsion, pulling her coat tighter as if to ward off the indignity of the interruption. "Some things never change, do they?" Theresa murmured, her eyes flicking from the boisterous customer to Rory, a silent accusation in their depth. "You always did have a knack for finding yourself in... unsavoury company." Rory pushed the half-filled pint towards the waiting customer, her gaze not leaving Theresa's. The familiar burn in her chest returned, an old wound reopened. "You always had a knack for judging everyone else whilst never looking in a mirror." "We both know who needed the mirror, Laila." The words hung in the air, heavy with unspoken history, with the raw, festering wounds of their past. Theresa’s eyes narrowed, a cold fire igniting in their depths. "And we both know it wasn't me."
created_at"2026-02-25T01:13:11.757Z" 2/25/2026, 1:13:11 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1430
moderation_latency(null)
generation_time20580
tokens_prompt4618
tokens_completion3306
native_tokens_prompt4497
native_tokens_completion3712
native_tokens_completion_images0
native_tokens_reasoning1905
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"
usage0.0106291
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency1430
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981991-146RaBqzdSxf8SWPc55z"
upstream_id(null)
total_cost0.0106291
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
totalTags18
adverbTagCount2
adverbTags
0"She looked around [around]"
1"Theresa’s voice hardened further [further]"
dialogueSentences47
tagDensity0.383
leniency0.766
rawRatio0.111
effectiveRatio0.085
80.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1274
totalAiIsmAdverbs5
found
0
adverb"perfectly"
count3
1
adverb"very"
count1
2
adverb"quickly"
count1
highlights
0"perfectly"
1"very"
2"quickly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1274
totalAiIsms30
found
0
word"familiar"
count2
1
word"rhythmic"
count1
2
word"pulsed"
count1
3
word"weight"
count1
4
word"magnetic"
count1
5
word"scanned"
count1
6
word"solitary"
count1
7
word"flicker"
count2
8
word"calculating"
count1
9
word"whisper"
count2
10
word"echo"
count1
11
word"lilt"
count1
12
word"measured"
count1
13
word"silence"
count1
14
word"intensity"
count1
15
word"predator"
count1
16
word"pristine"
count1
17
word"charged"
count1
18
word"unspoken"
count2
19
word"eyebrow"
count1
20
word"unravel"
count1
21
word"facade"
count1
22
word"porcelain"
count1
23
word"crystal"
count1
24
word"echoing"
count1
25
word"depths"
count1
highlights
0"familiar"
1"rhythmic"
2"pulsed"
3"weight"
4"magnetic"
5"scanned"
6"solitary"
7"flicker"
8"calculating"
9"whisper"
10"echo"
11"lilt"
12"measured"
13"silence"
14"intensity"
15"predator"
16"pristine"
17"charged"
18"unspoken"
19"eyebrow"
20"unravel"
21"facade"
22"porcelain"
23"crystal"
24"echoing"
25"depths"
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
emotionTells0
narrationSentences67
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
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)
analyzedSentences92
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1274
ratio0.002
matches
0"him"
1"us"
2"we"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount855
uniqueNames9
maxNameDensity2.34
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Theresa"
discoveredNames
Rory20
Friday1
Silas3
Raven2
Nest2
London1
Theresa18
Cardiff1
Evan1
persons
0"Rory"
1"Silas"
2"Raven"
3"Theresa"
4"Evan"
places
0"London"
1"Cardiff"
globalScore0.33
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences61
glossingSentenceCount1
matches
0"something akin to hurt, quickly masked by anger"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1274
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences92
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean30.33
std19.14
cv0.631
sampleLengths
059
156
268
353
41
562
613
757
825
911
108
1138
123
1335
1454
1533
1627
1727
1821
197
2023
219
2252
2316
244
2546
269
2745
2844
295
3059
3121
3251
3310
3416
3538
3628
3722
3835
3925
4015
4143
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences67
matches
0"was pronounced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs130
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences92
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount862
adjectiveStacks0
stackExamples(empty)
adverbCount25
adverbRatio0.029002320185614848
lyAdverbCount11
lyAdverbRatio0.012761020881670533
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences92
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences92
mean13.85
std7.41
cv0.535
sampleLengths
012
120
227
311
418
527
618
718
825
97
1011
1114
128
1320
141
1515
167
1724
1816
1913
2017
2112
2228
2318
247
2511
268
2711
2824
293
303
3122
327
336
3412
3513
3614
3715
3817
397
409
4115
4212
4327
443
4518
467
477
4816
499
65.22% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.42391304347826086
totalSentences92
uniqueOpeners39
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences66
matches
0"Then the hum faltered, a"
1"Even the way it was"
2"Just then, a man, broad-shouldered"
ratio0.045
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount18
totalSentences66
matches
0"She pulled a pint of"
1"She set the full glass"
2"Her tailored navy coat, cut"
3"She scanned the room, a"
4"Her mind screamed words she"
5"It felt foreign, a costume"
6"She clenched her free hand"
7"Her leather heels clicked a"
8"She stopped before the bar,"
9"She looked around The Raven's"
10"Its clasp gleamed under the"
11"His hazel eyes, usually veiled"
12"She dabbed it with a"
13"She tightened her grip on"
14"Her eyes, though, were cold,"
15"She leaned in conspiratorially, her"
16"He raised an eyebrow, a"
17"She gave an almost imperceptible"
ratio0.273
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount62
totalSentences66
matches
0"The fizzing pump handle bit"
1"She pulled a pint of"
2"The bar pulsed with the"
3"Rory didn't see it, she"
4"She set the full glass"
5"A woman stood there, paused"
6"Her tailored navy coat, cut"
7"She scanned the room, a"
8"A flicker, a ghost of"
9"The woman's lips, painted a"
10"Rory felt the muscles in"
11"Her mind screamed words she"
12"The name was a whisper,"
13"It felt foreign, a costume"
14"She clenched her free hand"
15"Rory's voice was steadier than"
16"The woman, Theresa, moved then,"
17"Her leather heels clicked a"
18"She stopped before the bar,"
19"Theresa said, her gaze sweeping"
ratio0.939
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences66
matches(empty)
ratio0
61.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences35
technicalSentenceCount4
matches
0"She set the full glass on the coaster for a waiting customer, her gaze drifting unconsciously towards the glass-panelled door as if drawn by a magnetic pull."
1"She scanned the room, a slow, deliberate sweep that skipped over faces, over couples entangled in conversation, over the solitary drinkers hunched over their sp…"
2"She stopped before the bar, close enough for Rory to catch the subtle, expensive scent of her perfume, a fragrance that spoke of distant cities and high-thread-…"
3"Theresa recoiled, her face a mask of revulsion, pulling her coat tighter as if to ward off the indignity of the interruption."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount5
matches
0"Rory wiped, a barrier of clean wood"
1"She leaned, her voice dropping to a theatrical whisper"
2"Theresa corrected, her tone sharp"
3"Rory countered, her voice low and dangerous"
4"Theresa slammed, the fragile crystal rattling"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"Theresa corrected (correct)"
1"Theresa murmured (murmur)"
dialogueSentences47
tagDensity0.085
leniency0.17
rawRatio0.5
effectiveRatio0.085
79.6717%