Run: 2026-02-25-01KJ95REB1PA6ZRJHJDPDJC3P8

Run Details

Duration:
45.2s
Cost:
$0.002608
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 heavy glass tumbler felt slick with condensation under Rory’s cloth. She polished the same spot, tracing an invisible circle until the rim gleamed under the low amber lights of The Raven’s Nest. The usual Tuesday night hum, a low thrum of solitary drinkers and hushed conversations that never seemed to rise above the ambient murmur. Silas would be in the back, poring over his maps, the faint rustle of paper a constant, subtle companion. Rory found a morbid comfort in the predictable rhythm of the place, a stark contrast to the frantic scramble of her days delivering lukewarm Pad Thai across London. A deeper shadow detached itself from the gloom near the far end of the bar, coalescing into a figure. He leaned against the polished dark wood, face mostly obscured by the brim of a worn cap. He hadn’t ordered anything, just sat with a tall glass that seemed untouched. Something about the set of his shoulders, the tilt of his head, snagged her attention. A prickle of unease. Then he turned, catching the sliver of stray light from the dartboard, and the unease bloomed into cold dread. "Leo?" The name hung in the air, brittle and fragile, like thin ice over deep water. The man blinked, his eyes, once the colour of a summer sky, now seemed muted, faded artefacts. A network of fine lines webbed the corners, etched deep by something far colder than laughter. He straightened, shedding the pretence of blending in, a slow, unfolding motion that felt almost predatory. A smile, too wide, too sharp, stretched his lips, revealing teeth that looked just a shade too yellow. "Rory. Aurora." His voice was a gravelly rasp, stripped of the easy charm she remembered. It scraped against her ears like dry leaves skittering across pavement. "God, it's been… it's been a while, hasn't it?" He pushed off the bar, moving towards her. Each step was deliberate, measured. The slight sway of his frame suggested a weariness that went deeper than the night. She tucked the polishing cloth into her apron pocket, her hands suddenly clammy. He stopped a few feet away, close enough for her to see the faint tremor in his hands, the faded scar barely visible above his collar, a pale echo of the vibrant boy who’d charmed his way through Cardiff’s student bars. "What are you doing here?" The question felt thin, inadequate, a flimsy dam against a flood of unspoken years. "Same as you, I suppose," Leo said, his gaze sweeping over the dimly lit pub. The walls, adorned with vintage maps and faded photographs of a London that seemed long gone, offered no solace. "Looking for… something. A quiet corner not full of ghosts." His eyes returned to her, a flicker of something unreadable in their depths. "Turns out, you're the ghost I didn't expect to see." He gestured vaguely towards the stool nearest her. "Mind if I…?" Rory nodded, a tight knot forming in her stomach. She watched him slide onto the bar stool, his worn leather jacket creaking. He ordered a whisky, neat, the words barely a whisper, and the barkeep – not Silas, but one of the younger lads – poured it without a fuss. Leo watched the amber liquid swirl in the glass, his reflection distorted in its depth. "You look… good, Rory. Like you haven't aged a day." He took a slow sip, the first he’d had since she’d seen him. He swallowed, a visible effort. "Still got that fire in your eyes. Just… banked down a bit. Learned how to control it." It wasn't a compliment. It was an observation veiled in something sharp, an appraisal. Rory leaned against the counter, keeping her movements measured. The scar on her wrist, a small crescent moon, felt suddenly prominent beneath her sleeve. Childhood accident, her mother had called it. A fall from a swing. Years later, she knew better. So did he, perhaps. "Life happens, Leo," she said, her voice steady. "You adapt." "Adapt," he echoed, the word tasting foul on his tongue. He swirled his whisky again. "Or you get… refined. Like coal under pressure. Turned into something hard. Useful." He glanced at her, a ghost of a smirk playing on his lips. "Or something else entirely." What “something else” meant, she could only guess. He was the one who’d stayed in Cardiff, chasing the legal eagles his parents had always wanted him to be, before getting tangled in something murkier than he’d ever let on to her. She remembered him talking about briefs, about shaking hands with future judges. Now, his hands trembled, and desperation clung to him like cheap cologne. "What brings you to London?" she asked, changing tack. "Silas doesn't usually get your sort wandering in." "My sort?" He laughed, a short, dry bark. "And what sort is that, Rory? The one who didn't run? The one who stayed and… dealt with things?" He met her gaze, and the faded blue eyes held a glint that reminded her, for a terrifying second, of the boy who’d once promised her the world. "Besides, rumours travel. Heard you were… involved. With Blackwood. The Spymaster." He winked, a grotesque exaggeration of their old inside jokes. "Thought I'd see if the little Welsh sparrow had grown some very sharp claws." Rory’s jaw tightened. Involved. It was a word that skirted the edges of truth, too imprecise to be an accusation, too loaded to be dismissed. Her work for Silas was precisely that – sharp claws, hidden in the delivery uniform. She delivered more than just food. She moved information, observations, whispers. It was cleaner than whatever Leo had clearly been doing. "Silas runs a bar, Leo. I deliver for a restaurant. That’s the extent of it." The lie felt thin, brittle. "Is it?" He leaned forward, the movement sudden, electric. The casual facade dropped, replaced by an unsettling intensity. "Because the boy I knew, Rory, the one who loved dissecting arguments and planning our escape routes from boring lectures, she wouldn't be polishing glasses for a retired spook. She'd be across the road, filing a lawsuit against him. Or running her own bloody empire." He gestured vaguely at the empty space on the bar next to her. "Remember that café we planned? 'The Cardiff Conspiracy'. Organic teas and revolutionary tracts. We were going to change the world, weren't we?" His voice dripped with a heavy, cloying sarcasm. "Now look at us. You’re serving drinks to ghosts, and I’m… well, I’m here." The air thickened between them. The weight of those abandoned plans, the fractured future, pressed down. He wasn't just looking at her; he was excavating the past, digging up bones she’d buried deep. "Plans change, Leo. People change." "But some things… they *define* you." His gaze was fixed, unwavering. "You ran from Evan. Smart. We all knew he was poison. But then you ran from everything else, didn't you? From Cardiff. From us. From… potential." The unspoken word hung in the air, heavy with accusation: failure. His failure. He saw his own unraveling reflected in her escape. "And you stayed?" Rory countered, her voice dropping, gaining an edge that rivalled his. "You stayed and… what? Built something solid? Something honest?" Leo’s smile flickered, a fleeting glimpse of a vulnerability he quickly masked. He emptied his glass in one gulp, slamming it down on the bar. The sharp crack echoed in the sudden silence that fell over their immediate vicinity. A few heads turned. "Honest?" He chuckled, the sound hollow. "Honesty's a luxury, Rory. For people who don't know what survival looks like. What it *costs*." He tapped the side of his head. "I learned. I learned to be useful. To be… adaptable. To know which doors to knock on, and which ones to kick down." He paused, his eyes locking onto hers with an intensity that made her skin crawl. "And I know people. People who need things. Things that aren't on any official list. Things someone like Silas might be interested in." He leaned closer, his breath smelling faintly of stale whisky and something else… something metallic, like old pennies. "The people I deal with, Rory," he murmured, his voice dropping to a conspiratorial whisper, "they have information too. Different kinds. More… concrete. Less about whispers and more about leverage." He reached into his jacket pocket, his movements slow, deliberate. Rory’s hand instinctively went to her apron, her fingers brushing against the smooth, cool metal of the burner phone hidden there. Silas had given it to her. For emergencies. Leo’s fingers closed around something small. He pulled out a tarnished silver locket, intricately engraved. It looked old, expensive, but somehow grubby. He held it out to her, the dim light catching the intricate floral patterns. "Recognise this?" he asked, his voice deceptively soft. Rory stared at it. The engraving… it was a specific style. Something she’d seen in Silas’ private files once, an item logged as missing from a certain old family estate. An estate that had recently been raided by uninvited guests. "Where did you get that?" Her voice was barely a whisper. Leo’s smile returned, broader this time, but devoid of warmth. "A trade. For information. The kind that doesn't come from overhearing office gossip or watching delivery routes. The kind that comes from…" He paused, letting the implication hang in the air. "From knowing how to get into places you’re not supposed to be. And knowing what people will pay to keep quiet about." He let the locket fall into her open palm. It was heavier than it looked. The metal was cold against her skin, chilling her fingers. "This belongs to someone Silas is… interested in," Leo continued, leaning back, the predator settling into his skin again. "Someone who paid me a fortune to make it disappear. But it seems… some things have a way of resurfacing. Especially old debts." He slid off the stool, leaving his half-empty glass. The gesture felt final, dismissive. He stood over her, a shadow blotting out the dim light. "You've got claws now, Rory. That’s good." His eyes scanned her face, lingering on her own subtle signs of wear. "But are they sharp enough? Because the world you're playing in, it's got teeth. And they're always hungry." He gave a slight, almost imperceptible nod, a gesture that felt like a finality. Then he turned and walked away, melting back into the shadows of The Raven's Nest, leaving Rory alone with the cold weight of the locket in her hand and the chilling certainty that her past, and Silas’ dangerous present, had just collided in the most unexpected, and perilous, way.
created_at"2026-02-25T01:14:03.499Z" 2/25/2026, 1:14:03 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1089
moderation_latency(null)
generation_time45148
tokens_prompt4618
tokens_completion14022
native_tokens_prompt4497
native_tokens_completion6310
native_tokens_completion_images0
native_tokens_reasoning3920
native_tokens_cached4062
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"
usage0.00260812
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1089
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771982043-qRTP1e3ly1GgzaJ1yMwH"
upstream_id(null)
total_cost0.00260812
cache_discount0.00036558
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
totalTags27
adverbTagCount1
adverbTags
0"she could only [only]"
dialogueSentences45
tagDensity0.6
leniency1
rawRatio0.037
effectiveRatio0.037
85.89% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1772
totalAiIsmAdverbs5
found
0
adverb"suddenly"
count2
1
adverb"very"
count1
2
adverb"precisely"
count1
3
adverb"quickly"
count1
highlights
0"suddenly"
1"very"
2"precisely"
3"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)
wordCount1772
totalAiIsms44
found
0
word"tracing"
count1
1
word"solitary"
count1
2
word"predictable"
count1
3
word"stark"
count1
4
word"gloom"
count1
5
word"etched"
count1
6
word"charm"
count1
7
word"measured"
count2
8
word"echo"
count1
9
word"unspoken"
count2
10
word"solace"
count1
11
word"flicker"
count1
12
word"unreadable"
count1
13
word"depths"
count1
14
word"stomach"
count1
15
word"whisper"
count3
16
word"echoed"
count2
17
word"trembled"
count1
18
word"glint"
count1
19
word"electric"
count1
20
word"facade"
count1
21
word"intensity"
count2
22
word"weight"
count2
23
word"fractured"
count1
24
word"unwavering"
count1
25
word"potential"
count1
26
word"unraveling"
count1
27
word"flickered"
count1
28
word"fleeting"
count1
29
word"silence"
count1
30
word"intricate"
count1
31
word"warmth"
count1
32
word"implication"
count1
33
word"chilling"
count2
34
word"predator"
count1
35
word"scanned"
count1
highlights
0"tracing"
1"solitary"
2"predictable"
3"stark"
4"gloom"
5"etched"
6"charm"
7"measured"
8"echo"
9"unspoken"
10"solace"
11"flicker"
12"unreadable"
13"depths"
14"stomach"
15"whisper"
16"echoed"
17"trembled"
18"glint"
19"electric"
20"facade"
21"intensity"
22"weight"
23"fractured"
24"unwavering"
25"potential"
26"unraveling"
27"flickered"
28"fleeting"
29"silence"
30"intricate"
31"warmth"
32"implication"
33"chilling"
34"predator"
35"scanned"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"hung in the air"
count2
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences111
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences111
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences129
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords2
totalWords1775
ratio0.001
matches
0"define"
1"costs"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1253
uniqueNames10
maxNameDensity0.72
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Rory9
Raven2
Nest2
Tuesday1
Pad1
Thai1
London2
Cardiff2
Leo7
Silas4
persons
0"Rory"
1"Raven"
2"Nest"
3"Leo"
4"Silas"
places
0"London"
1"Cardiff"
globalScore1
windowScore1
32.35% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount4
matches
0"seemed untouched"
1"seemed muted faded artefacts"
2"seemed long gone, offered no solace"
3"felt like a finality"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.563
wordCount1775
matches
0"not Silas, but one of the younger lads"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences129
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs40
mean44.38
std26.27
cv0.592
sampleLengths
0103
187
21
382
435
582
619
767
811
965
1045
1159
1210
1345
1465
1517
1690
1761
1820
1963
2057
2133
225
2337
2422
2523
2643
2790
2848
2939
3036
318
3240
3311
3463
3525
3642
3725
3838
3963
98.94% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences111
matches
0"was fixed"
1"been raided"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs206
matches
0"was excavating"
1"wasn't just looking"
76.41% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount1
flaggedSentences3
totalSentences129
ratio0.023
matches
0"He ordered a whisky, neat, the words barely a whisper, and the barkeep – not Silas, but one of the younger lads – poured it without a fuss."
1"Her work for Silas was precisely that – sharp claws, hidden in the delivery uniform."
2"He wasn't just looking at her; he was excavating the past, digging up bones she’d buried deep."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1182
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.03637901861252115
lyAdverbCount18
lyAdverbRatio0.015228426395939087
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences129
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences129
mean13.76
std9.36
cv0.68
sampleLengths
011
122
223
319
428
519
617
713
815
94
1019
111
1215
1317
1416
1516
1618
1715
1811
199
208
215
2215
2313
2441
2519
2615
2719
2823
2910
308
313
329
3313
3428
3515
3623
375
3817
394
4010
419
4215
437
445
455
464
478
482
4910
57.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.37209302325581395
totalSentences129
uniqueOpeners48
62.31% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences107
matches
0"Then he turned, catching the"
1"Then he turned and walked"
ratio0.019
3.18% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount58
totalSentences107
matches
0"She polished the same spot,"
1"He leaned against the polished"
2"He hadn’t ordered anything, just"
3"He straightened, shedding the pretence"
4"His voice was a gravelly"
5"It scraped against her ears"
6"He pushed off the bar,"
7"She tucked the polishing cloth"
8"He stopped a few feet"
9"His eyes returned to her,"
10"He gestured vaguely towards the"
11"She watched him slide onto"
12"He ordered a whisky, neat,"
13"He took a slow sip,"
14"He swallowed, a visible effort."
15"It wasn't a compliment."
16"It was an observation veiled"
17"she said, her voice steady"
18"he echoed, the word tasting"
19"He swirled his whisky again."
ratio0.542
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount101
totalSentences107
matches
0"The heavy glass tumbler felt"
1"She polished the same spot,"
2"The usual Tuesday night hum,"
3"Silas would be in the"
4"Rory found a morbid comfort"
5"A deeper shadow detached itself"
6"He leaned against the polished"
7"He hadn’t ordered anything, just"
8"Something about the set of"
9"A prickle of unease."
10"The name hung in the"
11"The man blinked, his eyes,"
12"A network of fine lines"
13"He straightened, shedding the pretence"
14"A smile, too wide, too"
15"His voice was a gravelly"
16"It scraped against her ears"
17"He pushed off the bar,"
18"Each step was deliberate, measured."
19"The slight sway of his"
ratio0.944
46.73% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences107
matches
0"Now, his hands trembled, and"
ratio0.009
68.45% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount5
matches
0"He straightened, shedding the pretence of blending in, a slow, unfolding motion that felt almost predatory."
1"A smile, too wide, too sharp, stretched his lips, revealing teeth that looked just a shade too yellow."
2"The slight sway of his frame suggested a weariness that went deeper than the night."
3"He stopped a few feet away, close enough for her to see the faint tremor in his hands, the faded scar barely visible above his collar, a pale echo of the vibran…"
4"The walls, adorned with vintage maps and faded photographs of a London that seemed long gone, offered no solace."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount7
matches
0"Leo said, his gaze sweeping over the dimly lit pub"
1"His eyes returned, a flicker of something unreadable in their depths"
2"she said, her voice steady"
3"He glanced, a ghost of a smirk playing on his lips"
4"Rory countered, her voice dropping, gaining an edge that rivalled his"
5"he murmured, his voice dropping to a conspiratorial whisper,"
6"he asked, his voice deceptively soft"
61.11% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount4
fancyTags
0"He laughed (laugh)"
1"He chuckled (chuckle)"
2"he murmured (murmur)"
3"Leo continued (continue)"
dialogueSentences45
tagDensity0.178
leniency0.356
rawRatio0.5
effectiveRatio0.178
76.4246%