Run: 2026-07-25-01KYCWTQQ8TV4993VM52JHHA0R

Run Details

Duration:
18.4s
Cost:
$0.024310
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The heavy brass knocker on Silas’ office door rattled as Rory slammed her shoulder into the oak frame, ducking beneath the swung iron pipe that split the air where her neck had been a second earlier. The lad behind the pipe possessed more enthusiasm than skill, but his knuckles were thick, scarred from years on the docks, and he smelled sourly of cheap gin. He lunged again, boots skidding over the worn red carpet. Rory drove her elbow directly into his sternum. Air exploded from his lungs in a wheezing spray. Before he could recover, she seized his wrist, twisted the joint until the bones popped, and cracked his chin hard against the doorframe. He dropped in an ungraceful heap of tweed and dull desperation. "Messy," a raspy voice observed from the gloom of the office. Rory wiped a smear of greasy sweat from her forehead with her sleeve, her small crescent-shaped wrist scar catching the low ambient light of the hallway. She kicked the iron pipe into the corner. "He was waiting by the cellar stairs, Silas. You're slipping." "Or I was curious how you'd handle a south London heavy," Silas Blackwood said. He sat behind his wide mahogany desk, a silver signet ring gleaming on his right hand as he rotated a cut-crystal glass of dark amber liquid. His hazel eyes were cold, calculating, assessing her frame in that infuriating way that made her feel like a dossier on an MI6 desk. "You used to freeze." "I used to live in Cardiff." She straightened her collar, stepping over the groaning muscle on the floor and sliding into the leather armchair opposite him. "Things change." "Some things." Silas leaned back, his auburn hair, liberally peppered with silver, catching the yellow lamplight. He didn't look like a man who owned a dingy Soho watering hole. He looked like a man who remembered every dirty secret in Western Europe and kept them neatly indexed under his blotter. "Your father called the bar again today." "Brendan can talk to the dial tone." "He sounded old, Rory." "He sounded like a barrister who lost his favorite punching bag." Her voice snapped, hard as iron. She shifted in the chair, her shoulder-length black hair veiling her profile. "I didn't come up to the Nest for a family counseling session. You said you had the ledger." Silas didn't answer right away. He took a slow, measured sip of his whisky, letting the quiet stretch between them until the only sound was the muffled thump of the bass from the main floor below and the heavy breathing of the unconscious thug on the rug. "Downstairs," Silas said, nodding toward the hidden bookshelf door that led back into the main tavern. "Table near the corner. Back wall." Rory frowned. "I thought we were keeping this off the floor." "We are. But someone's sitting at your usual spot. Someone who's been nursing a single dry martini for forty minutes." Silas set his glass down with a soft *clink*. "He asked for Laila." The room went icy. Rory’s hand drifted instinctively toward her jacket lining. Only three people in London knew that name, and two of them were buried under a concrete slipway in Greenwich. "Who?" "Go see for yourself," Silas said, picking up his fountain pen, signaling the end of the audience. "And drag this rubbish out with you. He's ruining the decor." Rory grabbed the unconscious man by his greasy lapels, dragging him through the concealed aperture in the bookshelf and dumping him behind the cellar icebox without a second thought. The Raven’s Nest thrummed with its usual midweek decay. Dark wood paneling soaked up the smoke, while black-and-white photographs of forgotten boxing champions and blurred European landscapes stared down at the half-drowned clientele. Neon green light cast long, sickly shadows across the floorboards from the sign outside the front window. She cut through the haze, her bright blue eyes scanning the booths. He sat alone in the shadows of the rearmost booth, his spine straight, fingers lightly resting on the stem of a glass. Evan. The dark hair she used to tangle her fingers in was cut ruthlessly short now, skinned close to his skull. His shoulders were broader, thicker, but the real change lay in his eyes. The easy, charismatic sparkle that had once charmed her father and won over her Cardiff flatmates had been completely scooped out, replaced by a flat, terrifying stillness. A pale, jagged mark cut through his left eyebrow, marring the handsome face she had once been terrified to disappoint. Rory pulled out the sticky bentwood chair opposite him and sat down. "You're late for your shift at the Chinese place," Evan said. His voice was deeper, stripped of its Welsh lilt, smooth like polished slate. "I took a detour." She kept her hands on her knees, out of sight, fingers curled into tight fists. "How did you find me?" "London isn't as big as you think, Rory. Especially when you keep running with retired spooks." He didn't move. Didn't lean forward. He simply observed her, a scientist dissecting a strange beetle. "You look thin." "You look like a copper's night out." "Private security now," he corrected softly. "Consulting. The pay is better. Less paperwork." "Is that what they call muscle for hire these days?" A tiny twitch at the corner of his mouth. "You used to hate confrontation. You used to lock yourself in the bathroom when Brendan started shouting about the law." "I grew up." "You fled." Evan picked up his glass, turning it slowly. "Left your flat wide open. Left your clothes in the wardrobe. Your mother cried for a month, you know. Thought you were in the river." "My mother knew exactly where I was going, and she was glad I went." Rory leaned in, the faint smell of stale lager and rain rising between them. "Why are you here, Evan? Did my dad hire you to drag his daughter back to law school, or did you just miss having someone to shove against the kitchen counter?" The air between them turned thick, hot, dangerous. In the old days, a sentence like that would have brought a sharp backhand or a icy week of silence. Evan didn't flinch. He set the glass down with precise, deliberate care. "I came to give you something." "I don't want anything from you." "You'll want this." He reached into his dark wool coat. Rory’s body reacted instantly. Her knee slammed into the underside of the small table, rattling the glasses, and her right hand came up from beneath her coat, the narrow blade of a stolen steak knife pressing hard against the soft underside of his throat before he could clear his lapel. The noise of the bar faded around them. A brass ash-tray wobbled on the edge of the table. Evan didn't blink. He froze, his hand half-buried in his pocket, feeling the cold steel biting into his flesh just beneath his jawline. A tiny bead of dark red blood welled against the gray edge of the knife. "Look at you," Evan murmured, his breath fanning across her knuckles. "Look what this filthy city made you into." "It made me sharp," Rory whispered, her voice dangerously steady, her blue eyes locked onto his. "It made me fast. Pull your hand out of your pocket. Slow." "It's just a file, Rory." "Pull. It. Out." He obeyed, withdrawing a thick, cream-colored envelope tied with red string. He dropped it onto the damp wood between them. "Your father's firm is being liquidated," Evan said, his tone entirely devoid of heat. "The SFO raided his chambers at dawn. Fraud. Embezzlement. A few unalive clients whose estates went missing." Rory didn't move the blade an inch. "Brendan's an idiot, but he's cautious." "He was cautious until Evan Vance took over his portfolio," he said gently. Rory’s pulse hammered in her throat. She looked from his cold, dead eyes down to the thick envelope. "You ruined him," she said. "He ruined himself. I just provided the shovel." Evan leaned back slightly, allowing the blade to slip away from his skin, though she didn't lower the knife. He dabs at his neck with a crisp white handkerchief, looking at the tiny spot of blood with an expression that bordered on satisfaction. "He took five years of my life, Rory. Treated me like a stray dog he could kick around the clerk's room. So I took everything he owned. His practice. His house in Pontcanna. His reputation." "And me?" "You left on your own." He stood up, towering over the small table, buttoning his coat with swift, practiced movements. "Though I suppose I owe you a thank you. If you hadn't run away to Soho, I might have stayed weak enough to care what happened to you." "Evan." He paused, looking down at her. "If I ever see your face in Soho again," Rory said, her hand tightening on the knife handle until her knuckles turned white, "I won't stop at your skin." Evan smiled. It was a cold, empty gesture that didn't reach his eyes. "You really have changed, Rory. It's a shame. I liked you better when you were frightened." He turned and melted into the smoky darkness of the bar, leaving the heavy front door to swing shut behind him. Rory sat rigid for three full seconds, her heart tearing against her ribs like a trapped bird. Slowly, her trembling hand lowered the knife, sliding it back into her pocket. She reached out and pulled the thick envelope toward her, snapping the red string with a sharp jerk. Inside were three photographs and a slip of paper with a local London address. The first photograph was of Silas, taken through a high-powered lens outside the bar three days ago. The second was of Eva, stepping out of her flat in Camden. The third was a copy of a flight manifest to Prague, dated for six o'clock that very evening, with a single name highlighted in yellow ink at the bottom: *Aurora Carter*. The floorboards groaned behind her as Silas limped out from the dark passage, his silver signet ring tapping against the wood of her chair. "He left something on the pavement outside," Silas said quietly. Rory didn't look up from the photos. "What?" "Two men with silenced automatics," Silas said, pulling a heavy snub-nosed revolver from his waistband and sliding it across the table to her. "And they just cut the power to the green sign."
created_at"2026-07-25T15:03:21.09Z" 7/25/2026, 3:03:21 PM
model"google/gemini-3.6-flash-20260721"
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generation_time18359
tokens_prompt4445
tokens_completion2572
native_tokens_prompt4497
native_tokens_completion2342
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
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num_input_audio_prompt(null)
num_media_completion0
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native_finish_reason"STOP"
service_tier"default"
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endpoint_id"5d6d133d-a953-4781-a835-7ee76f4e1388"
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latency594
model_permaslug"google/gemini-3.6-flash-20260721"
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Evaluation details

Result Evaluator Details Meta Data
36.07% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags25
adverbTagCount5
adverbTags
0"Silas leaned back [back]"
1"he corrected softly [softly]"
2"he said gently [gently]"
3"Evan leaned back [back]"
4"Silas said quietly [quietly]"
dialogueSentences61
tagDensity0.41
leniency0.82
rawRatio0.2
effectiveRatio0.164
74.32% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1752
totalAiIsmAdverbs9
found
0
adverb"lightly"
count1
1
adverb"completely"
count1
2
adverb"softly"
count1
3
adverb"slowly"
count2
4
adverb"gently"
count1
5
adverb"slightly"
count1
6
adverb"really"
count1
7
adverb"very"
count1
highlights
0"lightly"
1"completely"
2"softly"
3"slowly"
4"gently"
5"slightly"
6"really"
7"very"
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)
68.61% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1752
totalAiIsms11
found
0
word"gloom"
count1
1
word"gleaming"
count1
2
word"crystal"
count1
3
word"calculating"
count1
4
word"indexed"
count1
5
word"measured"
count1
6
word"scanning"
count1
7
word"eyebrow"
count1
8
word"lilt"
count1
9
word"silence"
count1
10
word"pulse"
count1
highlights
0"gloom"
1"gleaming"
2"crystal"
3"calculating"
4"indexed"
5"measured"
6"scanning"
7"eyebrow"
8"lilt"
9"silence"
10"pulse"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"knuckles turned white"
count1
1
label"without second thought"
count1
highlights
0"knuckles turned white"
1"without a second thought"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences91
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences91
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences127
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords3
totalWords1752
ratio0.002
matches
0"clink"
1"Aurora Carter"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount1198
uniqueNames18
maxNameDensity1.17
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Rory14
Blackwood1
Silas10
Soho1
Western1
Europe1
London2
Greenwich1
Raven1
Nest1
European1
Cardiff1
Welsh1
Didn1
Evan9
Eva1
Camden1
Prague1
persons
0"Rory"
1"Blackwood"
2"Silas"
3"Raven"
4"Nest"
5"Evan"
6"Eva"
places
0"Soho"
1"Western"
2"Europe"
3"London"
4"Greenwich"
5"Cardiff"
6"Camden"
7"Prague"
globalScore0.916
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences74
glossingSentenceCount1
matches
0"looked like a man who remembered every di"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1752
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences127
matches
0"knew that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean25.39
std18.9
cv0.744
sampleLengths
036
138
251
311
444
568
628
757
87
94
1047
1147
1222
1311
1433
1532
161
1728
1829
1950
2012
2122
221
2380
2412
2524
2624
2735
287
2913
3010
3129
323
3335
3459
3528
3618
376
3810
3950
4018
4138
4219
4328
445
453
4620
4731
4813
4913
97.55% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences91
matches
0"were buried"
1"been terrified"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs186
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences127
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount409
adjectiveStacks0
stackExamples(empty)
adverbCount12
adverbRatio0.029339853300733496
lyAdverbCount4
lyAdverbRatio0.009779951100244499
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences127
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences127
mean13.8
std9.19
cv0.666
sampleLengths
036
128
210
38
49
523
611
711
826
98
1010
1114
1226
1324
144
1526
162
1716
1813
1921
207
217
224
2317
2412
2518
265
2742
2816
296
302
319
3229
334
344
358
3620
371
3817
3911
4029
419
4224
4317
4412
4522
461
4720
4813
4927
50.66% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3700787401574803
totalSentences127
uniqueOpeners47
77.52% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences86
matches
0"Only three people in London"
1"Slowly, her trembling hand lowered"
ratio0.023
66.51% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences86
matches
0"He lunged again, boots skidding"
1"He dropped in an ungraceful"
2"She kicked the iron pipe"
3"He sat behind his wide"
4"His hazel eyes were cold,"
5"She straightened her collar, stepping"
6"He didn't look like a"
7"He looked like a man"
8"Her voice snapped, hard as"
9"She shifted in the chair,"
10"He took a slow, measured"
11"She cut through the haze,"
12"He sat alone in the"
13"His shoulders were broader, thicker,"
14"His voice was deeper, stripped"
15"She kept her hands on"
16"He didn't move"
17"He simply observed her, a"
18"he corrected softly"
19"He set the glass down"
ratio0.384
0.70% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount79
totalSentences86
matches
0"The heavy brass knocker on"
1"The lad behind the pipe"
2"He lunged again, boots skidding"
3"Rory drove her elbow directly"
4"Air exploded from his lungs"
5"He dropped in an ungraceful"
6"a raspy voice observed from"
7"Rory wiped a smear of"
8"She kicked the iron pipe"
9"Silas Blackwood said"
10"He sat behind his wide"
11"His hazel eyes were cold,"
12"She straightened her collar, stepping"
13"Silas leaned back, his auburn"
14"He didn't look like a"
15"He looked like a man"
16"Her voice snapped, hard as"
17"She shifted in the chair,"
18"Silas didn't answer right away."
19"He took a slow, measured"
ratio0.919
58.14% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences86
matches
0"Before he could recover, she"
ratio0.012
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount3
matches
0"His hazel eyes were cold, calculating, assessing her frame in that infuriating way that made her feel like a dossier on an MI6 desk."
1"The easy, charismatic sparkle that had once charmed her father and won over her Cardiff flatmates had been completely scooped out, replaced by a flat, terrifyin…"
2"He dabs at his neck with a crisp white handkerchief, looking at the tiny spot of blood with an expression that bordered on satisfaction."
65.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount3
matches
0"Evan murmured, his breath fanning across her knuckles"
1"Rory whispered, her voice dangerously steady, her blue eyes locked onto his"
2"Evan said, his tone entirely devoid of heat"
68.03% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount5
fancyTags
0"a raspy voice observed (observe)"
1"Her voice snapped (snap)"
2"he corrected softly (correct)"
3"Evan murmured (murmur)"
4"Rory whispered (whisper)"
dialogueSentences61
tagDensity0.246
leniency0.492
rawRatio0.333
effectiveRatio0.164
84.6089%