Run: 2026-05-10-01KR937ZSC9B92TFF2DQJXYN73

Run Details

Duration:
9.3s
Cost:
$0.003681
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 second deadbolt slid back with a screeching protest of rusted iron. Before I could even finish twisting the handle, the door swung inward with enough force to bang against the peeling wallpaper of the hallway. Lucien stood there, framed by the dim, flickering light of the landing. His charcoal tailored suit looked like it had been pressed by a ghost, not a wrinkle in sight, and his ivory-handled cane rested against his palm like a sceptre. One amber eye locked onto mine, while the other—that unsettling, void-like black—seemed to be cataloguing every single tremor in my chest. "You’re late," I said, my voice sharper than I intended. "Traffic in London is a fickle mistress, Aurora," he replied. He didn't wait for an invite. He swept past me into the flat, his presence immediately shrinking the room. The air suddenly smelled of sharp cedarwood, cold rain, and something metallic, like the ozone before a lightning strike. Ptolemy, the ginger tabby, bolted from his spot on the stack of pre-law textbooks, tail puffed to twice its normal size, and retreated beneath the divan. "I didn't say you could come in," I muttered, slamming the door shut and engaging the brass locks again. Every one of them. My hands were shaking, so I shoved them deep into the pockets of my oversized jumper to hide the crescent scar on my wrist. "The locks are a nice touch, though hardly effective against someone with my specific heritage." He tapped his cane twice on the floorboards, the sound echoing like a gunshot in the cramped space. He moved toward the window, his gaze scanning the overflowing table of research notes Eva had practically wallpapered the room with. He didn't pick anything up, but his fingers drifted inches above a crinkled scroll, hovering in a way that made my skin prickle. "Why are you here?" "A bird sang, Rory. A little thrush mentioned your name in conjunction with a very messy, very public incident at the docks." "I was delivering a late-night feast for Golden Empress, not burning down the city." "The restaurant owner is remarkably loyal, or remarkably paid off," Lucien countered. He turned, the heterochromatic contrast of his eyes pinning me to the spot where I stood. "Neither explains why a group of Avaros-blooded thugs were tracking your delivery route." I walked to the small kitchen nook, keeping the scratched wooden table between us. I needed something to do with my hands. I grabbed a chipped mug and filled it with tepid water from the tap, refusing to offer him anything. The silence stretched, thick and heavy with the weight of that night in Marseille we never spoke about. The way he had left—no note, no explanation, just a cooling room and the lingering scent of his cologne. "If you're here to lecture me on my career choices, you can find the exit," I said, taking a slow, steadying sip. "I am here to ensure you don't end up as a permanent resident of the Thames, though my motivations are purely professional, of course." "Professional." I laughed, but it came out jagged. "You haven't been professional since the day you decided my life was a curiosity to be toyed with." He stopped pacing. He leaned heavily on his cane, his posture shifting, losing that rigid, untouchable grace. He took three long strides until he was standing just inches from me. Now, the heat radiating from him was palpable, a low-frequency hum that vibrated in my teeth. "Toyed with?" He reached out, his gloved hand catching my chin, forcing me to look up. His touch was cold, precise, and entirely too familiar. "You have no idea what I kept you from, Aurora. You were a lamb playing among wolves, and I was the only thing preventing you from being torn into ribbons." "I never asked for a guardian." "No, you simply insisted on being a disaster." He leaned closer, the scent of him overwhelming my sense of caution. My pulse hammered against my throat. I could see the reflection of the room in his black eye—distorted, miniature, and chaotic. He smelled of old secrets and expensive ink. "Why did you leave?" I whispered. The question had been rotting in the back of my mind for months, a splinter I couldn't pull out. His hand slipped from my chin to the back of my neck, his thumb tracing the sensitive skin just below my hairline. He didn't pull away. He didn't move closer, either. We just stayed in that charged space, the world outside the flat forgotten, the creak of the floorboards under our feet the only sound in the suffocating stillness. "Leaving was an act of mercy, Rory," he murmured. "Though not for me." "Don't lie. You don't know how." "Perhaps not." He shifted his weight, and the cane clattered against the table, sending a stack of journals sliding to the floor. Neither of us reached for them. His gaze dropped to my lips, briefly, then snapped back to my eyes. His expression hardened, the vulnerability vanishing behind a mask of cool, aristocratic dispassion. "The thugs at the docks," he began, his voice lowered to a dangerous, silky rasp. "They weren't working for a local gang. They had seals burnt into their skin—Avaros marks, older than the ones I wear." "So?" "So, they aren't looking for a delivery driver." He released me, finally, stepping back as if burnt. "They’re looking for a Catalyst. And unless you’ve been practising the arts in secret, you have no idea why they think you are one." "I’m a law student, Lucien. I deliver noodles. I’m not a mythological battery." "Are you?" He pointed his cane at the pile of books on the floor. "Then explain why, every time you grow frustrated, the electronics in this building surge." I looked toward the corner. The neon sign of the bar downstairs, which had been flickering for weeks, suddenly sparked, crackled, and flared with a blinding, white-hot intensity that filled the room. The smell of burning plastic surged, followed immediately by the wail of a communal fire alarm in the common hallway. "That wasn't me," I stammered, backing away until my shoulders hit the cold brick of the wall. "It’s starting, isn’t it?" His voice was cold, detached, but he moved toward the window, his eyes narrowing as he scanned the street below. "They’re outside, Aurora. Three of them, crossing the street. They aren't hiding anymore." I peered past the curtain. Three figures, draped in heavy, dark coats, were standing perfectly still in the middle of the busy road. They were staring directly up at our window, their shadows stretching long and unnatural against the damp pavement, ignoring the honking horns and the screech of tires as a black town car swerved to avoid them. "I need to go," I whispered, reaching for my coat. "Going is a tactical error," Lucien said, his hand flashing out to grip my wrist, his fingers circling the scar. "The moment we step outside, we’re outmatched. We wait." "Wait for what? Them to finish the job?" "Wait for the signal." Just then, the glass of the window spider-webbed, a single, precise impact from the street below sending cracks radiating outward. A heavy, metal bolt flew through the gap, embedding itself deep into the wooden doorframe with a sickening thud, pinning my coat sleeve to the wall. "They aren't knocking," I breathed. Lucien pulled a thin, gleaming blade from the ivory handle of his cane, the metal singing as it caught the light. "No," he said, his eyes turning entirely black. "I believe they are declaring war."
created_at"2026-05-10T14:04:18.11Z" 5/10/2026, 2:04:18 PM
model"google/gemini-3.1-flash-lite-20260507"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency536
moderation_latency(null)
generation_time9208
tokens_prompt4556
tokens_completion1936
native_tokens_prompt4440
native_tokens_completion1714
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"
usage0.003681
router(null)
provider_responses
0
endpoint_id"237af107-d2e9-46c7-b146-c74d75980dee"
id"YpAAaveYE6qhz7IPn87xyQE"
is_byokfalse
latency536
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-1778421858-QjUa4kO6eCYguL55fd1y"
session_id(null)
api_type"completions"
id"gen-1778421858-xa0WyG0IUxNFfbgRvVl6"
upstream_id"YpAAaveYE6qhz7IPn87xyQE"
total_cost0.003681
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
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences41
tagDensity0.439
leniency0.878
rawRatio0
effectiveRatio0
80.41% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1276
totalAiIsmAdverbs5
found
0
adverb"suddenly"
count2
1
adverb"very"
count2
2
adverb"perfectly"
count1
highlights
0"suddenly"
1"very"
2"perfectly"
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)
33.39% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1276
totalAiIsms17
found
0
word"echoing"
count1
1
word"scanning"
count1
2
word"silence"
count1
3
word"weight"
count2
4
word"ensure"
count1
5
word"palpable"
count1
6
word"vibrated"
count1
7
word"familiar"
count1
8
word"sense of"
count1
9
word"pulse"
count1
10
word"chaotic"
count1
11
word"tracing"
count1
12
word"charged"
count1
13
word"intensity"
count1
14
word"scanned"
count1
15
word"gleaming"
count1
highlights
0"echoing"
1"scanning"
2"silence"
3"weight"
4"ensure"
5"palpable"
6"vibrated"
7"familiar"
8"sense of"
9"pulse"
10"chaotic"
11"tracing"
12"charged"
13"intensity"
14"scanned"
15"gleaming"
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
narrationSentences65
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences65
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences88
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1271
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions6
wordCount901
uniqueNames3
maxNameDensity0.44
worstName"Lucien"
maxWindowNameDensity1
worstWindowName"Lucien"
discoveredNames
Eva1
Marseille1
Lucien4
persons
0"Eva"
1"Lucien"
places
0"Marseille"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences54
glossingSentenceCount1
matches
0"looked like it had been pressed by a ghos"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1271
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences88
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean28.89
std20.62
cv0.714
sampleLengths
036
162
210
310
464
547
615
762
84
922
1014
1141
1278
1322
1424
1526
1646
1755
186
198
2041
2125
2259
2313
246
252
2652
2736
281
2941
3013
3128
3252
3317
3437
3559
3610
3729
388
394
4046
415
4221
4314
99.87% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences65
matches
0"been pressed"
21.03% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs149
matches
0"were shaking"
1"was standing"
2"were standing"
3"were staring"
45.45% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences3
totalSentences88
ratio0.034
matches
0"One amber eye locked onto mine, while the other—that unsettling, void-like black—seemed to be cataloguing every single tremor in my chest."
1"The way he had left—no note, no explanation, just a cooling room and the lingering scent of his cologne."
2"I could see the reflection of the room in his black eye—distorted, miniature, and chaotic."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount909
adjectiveStacks1
stackExamples
0"blinding, white-hot intensity"
adverbCount31
adverbRatio0.034103410341034104
lyAdverbCount13
lyAdverbRatio0.014301430143014302
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences88
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences88
mean14.44
std7.54
cv0.522
sampleLengths
012
124
212
329
421
510
610
76
813
919
1026
1119
124
1324
1415
1518
1621
1723
184
1922
2014
2112
2216
2313
2414
258
2619
2718
2819
2922
3024
318
3218
333
3414
3513
3616
3716
389
3930
406
418
4212
436
4415
458
466
4719
4822
494
51.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3977272727272727
totalSentences88
uniqueOpeners35
55.56% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences60
matches
0"Just then, the glass of"
ratio0.017
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences60
matches
0"His charcoal tailored suit looked"
1"I said, my voice sharper"
2"He didn't wait for an"
3"He swept past me into"
4"I muttered, slamming the door"
5"My hands were shaking, so"
6"He tapped his cane twice"
7"He moved toward the window,"
8"He didn't pick anything up,"
9"He turned, the heterochromatic contrast"
10"I walked to the small"
11"I needed something to do"
12"I grabbed a chipped mug"
13"I said, taking a slow,"
14"I laughed, but it came"
15"He stopped pacing."
16"He leaned heavily on his"
17"He took three long strides"
18"He reached out, his gloved"
19"His touch was cold, precise,"
ratio0.683
1.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount55
totalSentences60
matches
0"The second deadbolt slid back"
1"Lucien stood there, framed by"
2"His charcoal tailored suit looked"
3"I said, my voice sharper"
4"He didn't wait for an"
5"He swept past me into"
6"The air suddenly smelled of"
7"Ptolemy, the ginger tabby, bolted"
8"I muttered, slamming the door"
9"Every one of them."
10"My hands were shaking, so"
11"He tapped his cane twice"
12"He moved toward the window,"
13"He didn't pick anything up,"
14"He turned, the heterochromatic contrast"
15"I walked to the small"
16"I needed something to do"
17"I grabbed a chipped mug"
18"The silence stretched, thick and"
19"The way he had left—no"
ratio0.917
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences60
matches
0"Before I could even finish"
1"Now, the heat radiating from"
ratio0.033
61.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences35
technicalSentenceCount4
matches
0"He didn't pick anything up, but his fingers drifted inches above a crinkled scroll, hovering in a way that made my skin prickle."
1"He leaned heavily on his cane, his posture shifting, losing that rigid, untouchable grace."
2"Now, the heat radiating from him was palpable, a low-frequency hum that vibrated in my teeth."
3"The neon sign of the bar downstairs, which had been flickering for weeks, suddenly sparked, crackled, and flared with a blinding, white-hot intensity that fille…"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount3
matches
0"I said, my voice sharper than I intended"
1"he moved, his eyes narrowing as he scanned the street below"
2"he said, his eyes turning entirely black"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount7
fancyTags
0"I muttered (mutter)"
1"I laughed (laugh)"
2"I whispered (whisper)"
3"he murmured (murmur)"
4"I stammered (stammer)"
5"I whispered (whisper)"
6"I breathed (breathe)"
dialogueSentences41
tagDensity0.293
leniency0.585
rawRatio0.583
effectiveRatio0.341
76.1923%