Run: 2026-05-10-01KR8WN6QMD21Z5YMJGXJ20Y8S

Run Details

Duration:
9.3s
Cost:
$0.003552
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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 deadbolt ground against the frame, a sharp, metallic shriek that cut through the silence of the flat. I yanked the door inward, hand already tight around the heavy cast-iron skillet I kept by the entrance, my heart hammering a frantic rhythm against my ribs. Silas' bar was closed, the street noise of Brick Lane muffled by the thick, grime-streaked windowpanes, but the figure in the hallway didn't care for the hour. Lucien Moreau stood on the landing, his posture a masterclass in controlled elegance. He wore a charcoal tailored suit that looked far too expensive for this damp, dusty staircase. His heterochromatic eyes, one amber and one obsidian, tracked the movement of the skillet with a languid, predatory interest. "The security leaves much to be desired, Aurora," his voice was smooth, a low-frequency hum that vibrated in the small space between us. "The locks aren't for friends, Lucien. They're for people who show up uninvited at two in the morning." I didn't lower the pan. He tilted his head, his gaze drifting to the small crescent-shaped scar on my left wrist as I gripped the handle. A flicker of something dark passed behind his amber eye—regret, perhaps, or another hunger entirely. He leaned his weight onto his ivory-handled cane, the silver pommel catching the dim, flickering hallway light. "Step inside, or get off my landing." He crossed the threshold with that predatory, feline grace, his polished leather shoes clicking sharply on the warped wooden floorboards of the flat. My home suddenly felt smaller, every stack of Eva’s precarious, yellowing research notes looking like a haphazard barricade against the sheer, overwhelming presence of him. "You smell of ozone and wet pavement," I said, finally lowering my weapon to the kitchen counter. "What happened?" "A minor divergence in professional affairs," he tossed his coat over the back of a tattered armchair. Ptolemy, the tabby cat, emerged from beneath the sofa, eyes narrowed, weaving a slow, serpentine path around Lucien’s ankles. "I found myself in need of an associate who lacks the typical, tiresome moral hang-ups of the London underworld." "Try the docks. Plenty of souls for rent there." "I require someone with a sharp mind, not a blunt instrument." He paced the cramped room, his presence making the air feel thin. He stopped in front of a sprawling, hand-drawn map taped to the wall, his fingers hovering inches from the ink without touching it. His tailored jacket pulled tight across his shoulders, the fabric a stark, dark contrast to the chaotic surroundings. "You haven't changed the layout, I see," he glanced over his shoulder at me. "Still hiding in the shadows of the East End, playing at being a simple courier for a restaurant that deals in more than just dim sum." "The money is steady. The questions are non-existent." "And the company?" He turned fully now, narrowing those striking, mismatched eyes. The silence stretched, heavy and taut, filled only by the distant, rhythmic hum of a passing night bus. "I remember exactly why I left Marseille," I said, retreating behind the small, wobbly kitchen table. "You left because you were frightened of what you saw in the glass, not of me." "I was frightened of what I was becoming in your orbit." He closed the distance between us in two long-legged strides. He didn't reach out, but he didn't have to; the heat radiating from him was a physical weight, smelling of expensive sandalwood and the sharp, metallic tang of cold steel. He braced a hand against the wall beside my head, his shadow looming large against the cluttered backdrop of books and ancient, curling scrolls. "You were always far more powerful than you let yourself believe, Rory." "Don't call me that." "It suits the girl you were before you learned to lie to yourself." "That girl died in that cellar, Lucien." His hand shifted. He traced a line in the air, mere millimeters from my cheek, his fingers twitching as if fighting the urge to shatter the distance between us. The air in the room seemed to crackle, the scent of petrichor and ancient, buried things rising from the floorboards. My breath caught in my throat, a sharp, ragged sound that betrayed the calm facade I worked so hard to maintain. "We have business," I managed, my voice firm despite the way my skin burned where he stood closest. "Business," he echoed, his voice dropping to a gravelly, intimate register. "Is that what we're calling the tremor in your pulse?" He reached down, his fingers catching the hem of my jumper, pulling me just an inch closer. The contact sent a jolt of pure, white-hot electricity straight to my core. I leaned into him for a fraction of a second before the realization hit me—the cold, hard reality of why he was really here. I stepped back, my heels catching on the edge of a rug. "What is the cost this time, Lucien?" He smiled, a slow, predatory expression that didn't reach his eyes. He slowly unwrapped his grip on the ivory-handled cane. The hidden blade clicked, a rhythmic, metallic snick, as he drew it a fraction of an inch from the sheath. "Your silence, at the very least. But perhaps something more permanent." "I don't deal in blood debts anymore." "Everything has a price, Aurora. Especially the things you’re trying to forget." He gestured with the cane toward the window. Outside, in the alleyway below, a black, unmarked sedan idled, its headlights doused. A man stood leaning against the brickwork, his face obscured by the brim of a charcoal wool coat, his hands resting on something tucked into his belt. "They found the flat, didn't they?" I asked, my voice cold and steady. "Three minutes ago. I imagine the door handles are being tested as we speak." He stood back, adjusting his cuffs with an infuriatingly calm, deliberate motion. I gripped the edge of the table, feeling the rough grain of the wood bite into my palms. My mind was moving fast, mapping the exit routes, the fire escape, the narrow, winding stairs leading toward the dark, forgotten cellars of the pub below. "Why tell me now?" "Because I prefer my assets alive, and you are far too useful, and entirely too stubborn, to waste on a street-level ambush." A heavy, booming thud shook the door. Someone was trying the lock—not with a key, but with a heavy, forceful shoulder. The three deadbolts groaned in protest, the wood around the strike plate splintering inward, tiny, jagged shards of timber raining onto the floor. "Plan?" I hissed, eyes locked on the darkening wood of the door. "The window," Lucien shifted his weight, his eyes flashing with the sudden, violent intensity of a storm. "And pray you’re as fast as you were in Cardiff." Another, much harder blow rattled the pictures on the wall. The frame holding my parents' photo fell to the floor, the glass shattering into a thousand, glistening, razor-sharp diamonds. There was no time for questions, only the sudden, sharp realization that the door was about to buckle, and whatever waited on the other side wasn't interested in conversation. I grabbed my bag, the weight of the strap biting into my shoulder as the lock gave way with a final, screeching tear of metal.
created_at"2026-05-10T12:09:11.173Z" 5/10/2026, 12:09:11 PM
model"google/gemini-3.1-flash-lite-20260507"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency702
moderation_latency(null)
generation_time9134
tokens_prompt4556
tokens_completion1875
native_tokens_prompt4440
native_tokens_completion1628
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)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
service_tier"standard"
usage0.003552
router(null)
provider_responses
0
endpoint_id"237af107-d2e9-46c7-b146-c74d75980dee"
id"Z3UAarb4Gaqhz7IPn87xyQE"
is_byokfalse
latency702
model_permaslug"google/gemini-3.1-flash-lite-20260507"
provider_name"Google AI Studio"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.1; linux; x64))"
http_referer(null)
request_id"req-1778414951-WqHZhOEI8qz82DCOyv4A"
session_id(null)
api_type"completions"
id"gen-1778414951-nqrWNMd6iHRPzhYBTFso"
upstream_id"Z3UAarb4Gaqhz7IPn87xyQE"
total_cost0.003552
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"
response_cache_source_id(null)

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences34
tagDensity0.265
leniency0.529
rawRatio0
effectiveRatio0
79.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1220
totalAiIsmAdverbs5
found
0
adverb"sharply"
count1
1
adverb"suddenly"
count1
2
adverb"really"
count1
3
adverb"slowly"
count1
4
adverb"very"
count1
highlights
0"sharply"
1"suddenly"
2"really"
3"slowly"
4"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
18.03% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1220
totalAiIsms20
found
0
word"silence"
count3
1
word"vibrated"
count1
2
word"flicker"
count1
3
word"weight"
count4
4
word"stark"
count1
5
word"chaotic"
count1
6
word"rhythmic"
count2
7
word"looming"
count1
8
word"traced"
count1
9
word"facade"
count1
10
word"echoed"
count1
11
word"pulse"
count1
12
word"intensity"
count1
13
word"glistening"
count1
highlights
0"silence"
1"vibrated"
2"flicker"
3"weight"
4"stark"
5"chaotic"
6"rhythmic"
7"looming"
8"traced"
9"facade"
10"echoed"
11"pulse"
12"intensity"
13"glistening"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences54
matches(empty)
89.95% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences54
filterMatches
0"feel"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences79
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1217
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions6
wordCount864
uniqueNames4
maxNameDensity0.35
worstName"Lucien"
maxWindowNameDensity0.5
worstWindowName"Lucien"
discoveredNames
Moreau1
Eva1
Ptolemy1
Lucien3
persons
0"Moreau"
1"Eva"
2"Lucien"
places(empty)
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences51
glossingSentenceCount1
matches
0"as if fighting the urge to shatter the distance between us"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.822
wordCount1217
matches
0"not with a key, but with a heavy, forceful shoulder"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences79
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs45
mean27.04
std19.84
cv0.733
sampleLengths
045
127
248
323
418
558
67
748
819
955
109
1111
1253
1340
148
153
1627
1716
1816
1911
2064
2112
224
2313
247
2570
2618
2721
2866
297
3040
3111
327
3312
3448
3513
3614
3756
384
3922
4044
4112
4227
4358
4425
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences54
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs118
matches
0"was trying"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount1
flaggedSentences4
totalSentences79
ratio0.051
matches
0"A flicker of something dark passed behind his amber eye—regret, perhaps, or another hunger entirely."
1"He didn't reach out, but he didn't have to; the heat radiating from him was a physical weight, smelling of expensive sandalwood and the sharp, metallic tang of cold steel."
2"I leaned into him for a fraction of a second before the realization hit me—the cold, hard reality of why he was really here."
3"Someone was trying the lock—not with a key, but with a heavy, forceful shoulder."
93.33% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount294
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.047619047619047616
lyAdverbCount3
lyAdverbRatio0.01020408163265306
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences79
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences79
mean15.41
std6.86
cv0.445
sampleLengths
018
127
227
313
416
519
623
718
85
921
1015
1117
127
1323
1425
1517
162
1717
1819
1919
209
2111
2212
2323
2418
2514
2626
278
283
299
3018
3116
3216
3311
3410
3530
3624
3712
384
3913
407
413
4226
4320
4421
4518
4611
4710
4817
4913
59.92% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.4050632911392405
totalSentences79
uniqueOpeners32
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences54
matches(empty)
ratio0
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences54
matches
0"I yanked the door inward,"
1"He wore a charcoal tailored"
2"His heterochromatic eyes, one amber"
3"his voice was smooth, a"
4"I didn't lower the pan."
5"He tilted his head, his"
6"He leaned his weight onto"
7"He crossed the threshold with"
8"My home suddenly felt smaller,"
9"I said, finally lowering my"
10"he tossed his coat over"
11"He paced the cramped room,"
12"He stopped in front of"
13"His tailored jacket pulled tight"
14"he glanced over his shoulder"
15"He turned fully now, narrowing"
16"I said, retreating behind the"
17"He closed the distance between"
18"He didn't reach out, but"
19"He braced a hand against"
ratio0.685
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount52
totalSentences54
matches
0"The deadbolt ground against the"
1"I yanked the door inward,"
2"Lucien Moreau stood on the"
3"He wore a charcoal tailored"
4"His heterochromatic eyes, one amber"
5"his voice was smooth, a"
6"I didn't lower the pan."
7"He tilted his head, his"
8"A flicker of something dark"
9"He leaned his weight onto"
10"He crossed the threshold with"
11"My home suddenly felt smaller,"
12"I said, finally lowering my"
13"he tossed his coat over"
14"Ptolemy, the tabby cat, emerged"
15"He paced the cramped room,"
16"He stopped in front of"
17"His tailored jacket pulled tight"
18"he glanced over his shoulder"
19"He turned fully now, narrowing"
ratio0.963
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences54
matches(empty)
ratio0
30.08% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount6
matches
0"He wore a charcoal tailored suit that looked far too expensive for this damp, dusty staircase."
1"He stopped in front of a sprawling, hand-drawn map taped to the wall, his fingers hovering inches from the ink without touching it."
2"He traced a line in the air, mere millimeters from my cheek, his fingers twitching as if fighting the urge to shatter the distance between us."
3"My breath caught in my throat, a sharp, ragged sound that betrayed the calm facade I worked so hard to maintain."
4"He reached down, his fingers catching the hem of my jumper, pulling me just an inch closer."
5"He smiled, a slow, predatory expression that didn't reach his eyes."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount3
matches
0"he echoed, his voice dropping to a gravelly, intimate register"
1"I asked, my voice cold and steady"
2"I hissed, eyes locked on the darkening wood of the door"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount1
fancyTags
0"I hissed (hiss)"
dialogueSentences34
tagDensity0.118
leniency0.235
rawRatio0.25
effectiveRatio0.059
72.3604%