Run: 2026-03-03-01KJTZBHJRC8TN6NSWJK7DNZAC

Run Details

Duration:
11.1s
Cost:
$0.003938
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 glass in my hand rattled against the mahogany surface of the bar as the double doors of the Raven's Nest groaned. Rain-slicked boots hit the floorboards with a rhythm I hadn't heard in five years. "Make it a double, Silas. The cheap stuff." The voice hitched, a jagged edge of gravel where smooth, melodic confidence used to reside. I didn't look up from polishing the brass rail, but the air in the small room shifted, growing thin and static-charged. "We don't serve cheap here, Eva. You know that." "I know a lot of things, Silas. I know you hide your best cuts of beef in the back and your best secrets in that bookshelf of yours. Just pour." I finally turned. Eva leaned against the counter, her frame draped in a long, charcoal-grey wool coat that held the damp chill of a London night. Her hair, once a vibrant shock of deep chestnut, was cropped into a severe, chin-length bob, dyed a stark, uncompromising raven black. She looked like a silhouette cut out of a brighter life. Beneath the harsh neon hum of the green sign outside, her skin appeared translucent, stretched tight over cheekbones that felt as if they might cut glass. She threw a crumpled twenty-pound note onto the wood. It was damp too. I poured two fingers of amber liquid into a tumbler and slid it across. She knocked it back without a grimace. "Rory's upstairs," I said, keeping my tone flat. Eva stared into the bottom of her empty glass, her shoulders stiff. "I didn't come for her. Though I assume she’s still collecting tips and dodging ghosts." "She’s doing better than both of us." "Better is a relative term in this city." She tapped a manicured nail against the rim of the glass. The sound was rhythmic, insistent. "I saw Evan yesterday." My hand froze on the cloth. The silence between us became a physical weight, pressing against the old maps tacked to the walls. "He’s asking questions about Cardiff," she continued. Her voice dropped, taking on a conspiratorial rasp. "Apparently, the barrister father of yours hasn't been as quiet as you hoped. He’s looking for the ledger." "He has no right to that." "Rights evaporate when you ruin a man's reputation, Silas. You know the drill." I walked around the bar, my left leg dragging slightly across the floorboards. I stopped at the bookshelf, pulling a specific, weathered spine. The mechanism clicked, a heavy, familiar groaning of iron teeth sliding against iron gears. The wall sighed open to reveal the dim, cramped back room. I gestured for her to enter. She followed, her posture rigid. The room smelled of old paper and stale tobacco. Outside, the muffled low-thrum of Soho traffic bled through the walls, a reminder of the world we were currently standing outside of. "He thinks she’s still there," Eva said, not waiting for me to close the door. "He thinks she’s still playing the dutiful daughter, studying law, waiting for the weekend to go home for Sunday roast." "She isn't, but she carries the scars of it." "We all carry things, Si. That’s what kills us." She stepped into the sliver of light filtering from the bar. Her eyes, once bright and clear, were clouded with a restless, amber-hued intensity. She reached for the edge of the table to steady herself, her gloved fingers trembling. "He’s coming here tonight. He thinks I’m still on his side. That I’m still the girl who fetches his coffee and keeps the books." "You aren't. Not anymore." "I am as long as he thinks I am." She opened her coat. A leather shoulder holster peeked out from under a tailored black silk blouse. She didn't flinch. "I need you to tell Rory to go. Not upstairs. Not back to the restaurant. Somewhere far from here. Tell her the Golden Empress is closed for good." "She won't listen to me. You know she’s as headstrong as they come." "Then lie." The front door chimed again. Heavy, deliberate footsteps vibrated through the floorboards. Eva went still, her gaze locking onto the back of my head. She pulled the flap of her coat closed, concealing the weapon, and leaned back into the shadows of the alcove. "He’s fast," she whispered. "Go to the service exit," I said, pointing toward the heavy metal door at the back. "And leave you to him? With that knee?" She let out a sharp, mirthless laugh. "You’re an addict for the old ways, Silas. That’s why you never left this hole." "I am the man who keeps the peace, Eva. You’re the one who breaks it." The footsteps stopped just on the other side of the bookshelf wall. A shadow fell across the threshold, long and imposing. "Silas?" A voice called out. It was smooth, honeyed, and utterly devoid of warmth. "I heard you were hosting guests tonight." Eva’s hand drifted toward her waist. She looked at me, her face pale, her jaw set in a line of cold resolve. The regret wasn't in her eyes anymore. It had been replaced by a singular, sharp-edged desperation. The book wall began to nudge inward, an inch at a time. The visitor had found the catch. "Don't," I breathed. Eva didn't listen. She shifted, her body turning toward the seam of the moving wall, her hand emerging from her coat with the weight of cold steel. The shelf swung wide, revealing a tall man in a sharp, grey tailored suit. His smile was narrow, predatory. His gaze scanned the dark room, ignoring me, searching for the person who had finally decided to act. "Eva," he noted, his tone mild as he stepped over the threshold. "I wondered when you’d finally stop running." He raised a compact, silenced pistol, but he hadn't accounted for the fact that Eva wasn't standing where she had been a moment ago. She had dropped to the floor, sliding under the heavy oak desk that occupied the centre of the room. The first shot shattered the stillness, a dry, popping sound that echoed against the bookshelves. Dust rained from the ceiling. Silas lunged forward, his bad leg seizing, but he ignored the white-hot flash of pain, tackling the intruder into the far wall. The man grunted, his aim swinging wildly as they collided with a display of fragile spirits, shards of glass showering them like diamonds. "Get out, Rory!" I roared, knowing she had been lurking by the kitchen door. "Not without you!" A voice shouted back—sharp, defiant, and entirely too close to the fray. The man in the grey suit bucked, throwing me off balance with a brutal jab to my ribs. He pointed the weapon toward the kitchen alcove, his thumb finding the safety. Eva sprang from under the desk, her own blade flashing in the dim overhead light, catching him across the arm. He screamed, the gun clattering against the floorboards, sliding across the room toward the opening in the wall. It skidded to a halt at the feet of a woman gripping a heavy, black leather satchel, her bright blue eyes wide with shock. Rory stared at the weapon, then at the two men struggling in the corner, and finally at Eva, who stood panting, blood dripping from her knuckles. The gun was inches away. Rory bent down, her fingers twitching near the cold, black barrel. "Don't touch it!" I yelled, pinning the man’s head against the shelf. Rory ignored me. She picked up the gun, the weight of it changing her entire bearing, the small, crescent-shaped scar on her wrist standing out bright against her pale skin. She didn't aim it at the intruder. She aimed it at the door. Sirens wailed in the distance, cutting through the heavy, suffocating silence of the room. The man beneath me went limp, his eyes focusing on the gun in Rory’s steady hand. "It’s empty," he gasped, blood bubbling at the corner of his mouth as he gestured to the floor where the magazine lay loose. "You think you’ve won? They’re already at the perimeter." "Let them come," Rory said, her voice steady enough to crack glass. The front entrance shattered. Glass flew in a glittering cloud, and the green neon sign above the door flickered, buzzed, and died.
created_at"2026-03-03T23:08:29.173Z" 3/3/2026, 11:08:29 PM
model"google/gemini-3.1-flash-lite-preview-20260303"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency741
moderation_latency(null)
generation_time10944
tokens_prompt4618
tokens_completion2066
native_tokens_prompt4497
native_tokens_completion1876
native_tokens_completion_images0
native_tokens_reasoning0
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"
usage0.00393825
router(null)
provider_responses
0
endpoint_id"e004ce39-eb0c-4474-93d5-55072e725970"
is_byokfalse
latency741
model_permaslug"google/gemini-3.1-flash-lite-preview-20260303"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1772579309-cQJk0DR0o7Vn3iFKQAiL"
upstream_id(null)
total_cost0.00393825
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags17
adverbTagCount1
adverbTags
0"A voice shouted back— [back]"
dialogueSentences38
tagDensity0.447
leniency0.895
rawRatio0.059
effectiveRatio0.053
92.76% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1382
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"utterly"
count1
highlights
0"slightly"
1"utterly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
9.55% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1382
totalAiIsms25
found
0
word"voice hitched"
count1
1
word"charged"
count1
2
word"chill"
count1
3
word"stark"
count1
4
word"rhythmic"
count1
5
word"silence"
count2
6
word"weight"
count3
7
word"familiar"
count1
8
word"reminder"
count1
9
word"intensity"
count1
10
word"silk"
count1
11
word"footsteps"
count2
12
word"vibrated"
count1
13
word"imposing"
count1
14
word"warmth"
count1
15
word"resolve"
count1
16
word"scanned"
count1
17
word"shattered"
count2
18
word"echoed"
count1
19
word"flickered"
count1
highlights
0"voice hitched"
1"charged"
2"chill"
3"stark"
4"rhythmic"
5"silence"
6"weight"
7"familiar"
8"reminder"
9"intensity"
10"silk"
11"footsteps"
12"vibrated"
13"imposing"
14"warmth"
15"resolve"
16"scanned"
17"shattered"
18"echoed"
19"flickered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences87
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences87
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1381
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions18
wordCount1048
uniqueNames6
maxNameDensity0.86
worstName"Eva"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Raven1
Nest1
London1
Eva9
Soho1
Rory5
persons
0"Raven"
1"Nest"
2"Eva"
3"Rory"
places
0"London"
1"Soho"
globalScore1
windowScore0.833
78.57% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount2
matches
0"looked like a silhouette cut out of a bri"
1"appeared translucent stretched tight over cheekbones that felt as if they might cut glass"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1381
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences108
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean27.08
std18.92
cv0.699
sampleLengths
036
18
236
39
430
585
613
721
88
927
107
1128
1223
1333
146
1513
1654
1736
1835
199
2072
214
2257
2313
242
2544
264
2716
2830
2915
3021
3121
3238
3318
343
3527
3637
3719
3843
3965
4014
4115
4269
4324
4442
4512
4643
4730
4832
4912
93.16% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences87
matches
0"was cropped"
1"were clouded"
2"been replaced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs172
matches
0"were currently standing"
1"wasn't standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences108
ratio0.009
matches
0"\"Not without you!\" A voice shouted back—sharp, defiant, and entirely too close to the fray."
76.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1059
adjectiveStacks4
stackExamples
0"long, charcoal-grey wool"
1"restless, amber-hued intensity."
2"singular, sharp-edged desperation."
3"small, crescent-shaped scar"
adverbCount25
adverbRatio0.023607176581680833
lyAdverbCount8
lyAdverbRatio0.007554296506137866
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean12.79
std6.79
cv0.531
sampleLengths
022
114
28
315
421
59
630
73
823
922
1011
1126
129
134
1414
157
168
1712
1815
197
2019
215
224
236
2417
257
268
2718
286
2913
3013
3110
3214
3311
346
355
369
3722
3815
3920
409
4120
4213
4315
4424
454
4613
4713
483
4928
42.59% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.2962962962962963
totalSentences108
uniqueOpeners32
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences84
matches(empty)
ratio0
20.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences84
matches
0"I didn't look up from"
1"I finally turned."
2"Her hair, once a vibrant"
3"She looked like a silhouette"
4"She threw a crumpled twenty-pound"
5"It was damp too."
6"I poured two fingers of"
7"She knocked it back without"
8"I said, keeping my tone"
9"She tapped a manicured nail"
10"My hand froze on the"
11"Her voice dropped, taking on"
12"I walked around the bar,"
13"I stopped at the bookshelf,"
14"I gestured for her to"
15"She followed, her posture rigid."
16"She stepped into the sliver"
17"Her eyes, once bright and"
18"She reached for the edge"
19"She opened her coat"
ratio0.5
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount79
totalSentences84
matches
0"The glass in my hand"
1"The voice hitched, a jagged"
2"I didn't look up from"
3"I finally turned."
4"Eva leaned against the counter,"
5"Her hair, once a vibrant"
6"She looked like a silhouette"
7"She threw a crumpled twenty-pound"
8"It was damp too."
9"I poured two fingers of"
10"She knocked it back without"
11"I said, keeping my tone"
12"Eva stared into the bottom"
13"She tapped a manicured nail"
14"The sound was rhythmic, insistent."
15"My hand froze on the"
16"The silence between us became"
17"Her voice dropped, taking on"
18"I walked around the bar,"
19"I stopped at the bookshelf,"
ratio0.94
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences84
matches(empty)
ratio0
31.75% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount7
matches
0"Eva leaned against the counter, her frame draped in a long, charcoal-grey wool coat that held the damp chill of a London night."
1"Beneath the harsh neon hum of the green sign outside, her skin appeared translucent, stretched tight over cheekbones that felt as if they might cut glass."
2"She shifted, her body turning toward the seam of the moving wall, her hand emerging from her coat with the weight of cold steel."
3"His gaze scanned the dark room, ignoring me, searching for the person who had finally decided to act."
4"The first shot shattered the stillness, a dry, popping sound that echoed against the bookshelves."
5"The man grunted, his aim swinging wildly as they collided with a display of fragile spirits, shards of glass showering them like diamonds."
6"She picked up the gun, the weight of it changing her entire bearing, the small, crescent-shaped scar on her wrist standing out bright against her pale skin."
36.76% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount3
matches
0"Eva said, not waiting for me to close the door"
1"he noted, his tone mild as he stepped over the threshold"
2"Rory said, her voice steady enough to crack glass"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount8
fancyTags
0"she continued (continue)"
1"she whispered (whisper)"
2"I breathed (breathe)"
3"he noted (note)"
4"I roared (roar)"
5"A voice shouted back— (shout)"
6"I yelled (yell)"
7"he gasped (gasp)"
dialogueSentences38
tagDensity0.316
leniency0.632
rawRatio0.667
effectiveRatio0.421
72.1496%