Run: 2026-07-25-01KYCXEJYNM41ZCE76HCCM3179

Run Details

Duration:
19.4s
Cost:
$0.025893
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 silver signet ring hit the mahogany counter with a dull *thunk*, heavy enough to rattle the empty tumbler beside it. Rory didn't look up from the ice bucket. Her fingers were already numb from digging through the half-melted slush for the last bottle of dark ale. "We're closed, Si. Unless you want the warm cider from the back." "I don't think Silas is working the taps tonight, Rory." The voice was wrong. It carried a thick, slick London cadence that tasted of cheap aftershave and dry-cleaned suits, entirely devoid of Silas' dry Welsh drawl. Rory froze, her hands dripping gray water onto the floorboards. She pulled her arms out of the cooler, wiped her palms on her apron, and turned around. Evan sat on the third stool from the brass draught taps. He looked smaller than he had in Cardiff, his broad shoulders pulled tight beneath a charcoal wool coat that had never seen a Welsh rainstorm. The sharp, cruel edge of his jawline remained, but the skin around his brown eyes had darkened, bruised by hours he used to sleep through. A thin scar bisected his left eyebrow, pale and precise. "You're a long way from the Vale," Rory said. Her voice didn't shake. Three years of running Yu-Fei’s takeaway boxes across Soho had hardened her vocal cords against unexpected ghosts. "London's big. Hard to find people." Evan reached out, his long fingers trailing over the sweat on the beer tower. "Unless you know which dingy Soho basement they hide in." "Silas doesn't like uninvited guests." "The old bloke with the limp?" Evan smiled, though the expression didn't reach his eyes. "He's upstairs. Talking to a man about a delivery. Very polite gentleman, your boss. Offered me a gin." Rory gripped the edge of the bar. Her left wrist twitched, the crescent-shaped scar pulling tight against her skin like a second pulse. She kept her arms crossed, locking her hands under her armpits where he couldn't see them tremble. "What do you want, Evan?" "A drink would be a start." She reached for a clean glass, set it on the bar, and filled it with tap water. She slid it across the stained wood. It stopped an inch from his manicured hand. "Still got that fire," Evan murmured. He looked down at the water, then back up at her, taking in the black shoulder-length hair, the dark circles under her bright blue eyes, the oversized woolen jumper that hid her frame. "You look different. Tired." "I work for a living." "So did your dad. Didn't stop him from answering his phone." Evan took a small sip of the water, his nose twitching slightly at the chlorine tang. "He misses you, Laila. Your mother still leaves your room exact-" "Don't call me that." The sharp edge in her voice echoed off the black-and-white photographs lining the dark walls. Maps of old Europe stared back at them, full of faded borders and dead empires. "My name is Rory." "Rory." He tested the name like a piece of spoiled meat. "Sounds like a boy who works in a garage. Eva said you were living above a pub. I didn't believe her. Rory Carter, top of the Pre-Law cohort, pulling pints for Soho drunks and washed-up spooks." "Eva has a big mouth." "Eva cares about you. We both did." "You had a strange way of showing it." Evan set the glass down. The water sloshed against the rim. "I made mistakes, Rory. I was young. I was angry about the firm, about my father, about..." He waved a hand vaguely toward the street, where the green neon sign from the entrance cast a sick, emerald glow through the frosted top panes of the door. "Everything. But I've changed. I'm junior partner now. I bought the house in Penarth. The one with the bay windows you used to stare at." Rory stared at him. Really stared at him. She remembered a boy who used to kick his football against her garden wall until her mother yelled, a boy who took her to the docks at midnight to drink stolen cider and talk about escaping Wales. She remembered the man he became when the booze ran out and his father's expectations caved his chest in. The man whose hands were far too heavy for a girl five inches shorter than him. "You haven't changed, Evan," she said softly. "You just bought better clothes." "That's unfair." "You tracked me through Eva, came into my workplace, and paid off my landlord's attention just to tell me you bought a house I haven't thought about in three years." She leaned over the counter, closing the distance between them until she could smell the expensive tobacco on his breath. "That isn't change. That's an obsession." Evan's jaw tightened. The faint shadow of the boy from Cardiff disappeared entirely, replaced by the cold, calculating barrister his father had raised him to be. "You left me with nothing, Laila. No note. No warning. I came home and your clothes were gone. Your books were gone. You left a key on the kitchen table like I was a bloody landlord." "You broke my wrist, Evan." The silence in the bar turned dense, heavy as lead. Up above, the slow, rhythmic thud of Silas' heavy boot and dragging left leg sounded against the floorboards of the flat, a steady clock counting down the seconds. Evan didn't flinch. "It was an accident. We were shouting. You tripped on the rug." "I fell because you pushed me." Rory pulled her left arm out from under her armpit. She slid her sleeve back, exposing the pale, crescents-shaped mark near her thumb. "I spent four hours in the A&E at University Hospital of Wales claiming I slipped on ice. In July." Evan stared at the scar. His chest rose and fell in rapid, shallow breaths. For a second, a sliver of genuine horror flickered across his features, the briefest crack in the armor, before the smooth varnish of his arrogance closed over it again. "I went to therapy," he whispered. "After you left. I did six months in Bristol." "Good for you." "I did it for you!" He slammed his palm onto the bar. The tumbler jumped. "I did it so if I ever saw you again, I could tell you that I'm not that man anymore!" "You didn't do it for me," Rory said, her voice dropping to a harsh, dangerous whisper. "You did it so you could sleep at night without feeling like a monster. You did it for your own conscience, Evan. Not mine." She reached into her pocket, pulled out her phone, and laid it beside his signet ring. "Silas keeps a short fuse for people who disturb his peace," she said. "And he knows every desk sergeant at the West End police station by their first name. You have two minutes to pick up your ring and walk out that door before I hit speed dial." Evan looked at the phone, then at her face. The bright blue in her eyes wasn't cold; it was entirely empty. The girl who used to cry in the back of his car when they argued was gone, buried under three years of London rain and cheap takeaway grease. Slowly, Evan picked up the signet ring and slid it onto his finger. He stood up, smoothing the front of his charcoal coat with deliberate care. "Your father's sick, Rory," he said, his voice dropping into a parting venom. "Heart's failing. He won't last the winter. But I suppose a tough girl like you doesn't care about Cardiff anymore." He turned toward the exit. His hand was on the brass latch of the door when a floorboard creaked at the top of the stairs behind the bar. Silas Blackwood stepped into the dim light of the doorway, his grey-streaked auburn beard neatly trimmed, his hazel eyes locking instantly onto the back of Evan's head. He held a heavy iron fireplace poker loosely in his right hand, the tip trailing along the floor with a dry screech. "Everything alright down here, Rory?" Silas asked, his voice low and gravelly. Evan paused, his hand tightening on the latch. He looked back over his shoulder, taking in Silas' height, the quiet threat in his posture, and the old, jagged violence resting in the eyes of a man who had survived Prague. "Just leaving," Evan said. "Best do it quickly," Silas replied. "The air gets thick in here around midnight." Evan yanked the door open and stepped out into the damp Soho street. The green neon light caught the back of his coat for a fraction of a second before the heavy oak door swung shut, the latch clicking into place with finality. Rory stood behind the bar, her hands resting flat on the mahogany. She listened to the hum of the beer fridges, the distant rumble of the Northern Line underground train beneath the foundations, the soft scraping of Silas' poker as he set it against the wall. "He's the one from Wales, then?" Silas asked, limping slowly toward the taps. "He's the past," Rory said. Silas picked up the glass of water Evan had left behind, walked to the sink, and poured it down the drain. He grabbed a bottle of Welsh whiskey from the top shelf, poured two fingers into a clean glass, and pushed it across to her. "Past has a habit of bleeding into the present if you don't cauterize it," Silas noted quietly. Rory looked down at the amber liquid. She didn't pick up the glass. She reached for the bar rag instead, wiping away the circle of condensation where Evan's water had sat, rubbing the wood until the dark stain vanished entirely. The bell above the entrance chimed. Rory looked up, expecting Evan's returning shadow against the frosted glass, but the door burst open with violent speed. A young courier in a wet helmet stumbled inside, his high-vis jacket soaked, a heavy leather courier bag clutched tightly against his ribs. "Carter?" the courier panted, his breath hitching. "You Rory Carter?" "Yeah," she said, her muscles tensing instantly. "Some bloke outside just shoved this through my handlebars and ran." The courier reached into his bag and pulled out a manila envelope sealed with red wax. "Said if I didn't get it to you in ten seconds, he'd cut my throat." Silas moved with shocking speed for a man with a ruined knee, shoving Rory behind his shoulder as he reached across the bar to take the envelope. The wax seal bore no initials, just a rough, crude impression of a broken scales of justice. "Stay back, Rory," Silas growled, slipping a silver pocket knife from his waistcoat. "That's Evan's father's seal," Rory whispered, her breath catching in her throat as she stared at the dark red wax. "Silas, that's the firm's stamp." Silas sliced the envelope open. A thick stack of folded documents fell onto the counter, accompanied by a small, black USB drive and a photograph. Rory leaned over Silas' shoulder and looked at the photo. It showed her father, Brendan Carter, sitting in a wheelchair outside a hospital, his face pale and sunken. Standing directly behind him, with a hand resting heavily on the old man's shoulder, was Evan. A single sheet of lined paper slid out from between the court documents. On it, written in Evan's sharp, elegant cursive, were five words: *Come home, or he dies.*
created_at"2026-07-25T15:14:11.582Z" 7/25/2026, 3:14:11 PM
model"google/gemini-3.6-flash-20260721"
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generation_time19304
tokens_prompt4445
tokens_completion2738
native_tokens_prompt4497
native_tokens_completion2553
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native_tokens_reasoning0
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags31
adverbTagCount2
adverbTags
0"she said softly [softly]"
1"Silas noted quietly [quietly]"
dialogueSentences60
tagDensity0.517
leniency1
rawRatio0.065
effectiveRatio0.065
76.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1916
totalAiIsmAdverbs9
found
0
adverb"very"
count1
1
adverb"slightly"
count1
2
adverb"really"
count1
3
adverb"softly"
count1
4
adverb"slowly"
count2
5
adverb"loosely"
count1
6
adverb"quickly"
count1
7
adverb"tightly"
count1
highlights
0"very"
1"slightly"
2"really"
3"softly"
4"slowly"
5"loosely"
6"quickly"
7"tightly"
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)
79.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1916
totalAiIsms8
found
0
word"eyebrow"
count1
1
word"pulse"
count1
2
word"echoed"
count1
3
word"calculating"
count1
4
word"silence"
count1
5
word"rhythmic"
count1
6
word"flickered"
count1
7
word"whisper"
count1
highlights
0"eyebrow"
1"pulse"
2"echoed"
3"calculating"
4"silence"
5"rhythmic"
6"flickered"
7"whisper"
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
narrationSentences99
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences99
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences132
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords6
totalWords1916
ratio0.003
matches
0"thunk"
1"Come home, or he dies."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions60
wordCount1273
uniqueNames16
maxNameDensity1.57
worstName"Evan"
maxWindowNameDensity3
worstWindowName"Evan"
discoveredNames
London2
Rory14
Cardiff2
Welsh2
Yu-Fei1
Soho2
Evan20
Maps1
Europe1
Wales1
Blackwood1
Silas9
Northern1
Line1
Brendan1
Carter1
persons
0"Rory"
1"Yu-Fei"
2"Evan"
3"Blackwood"
4"Silas"
5"Brendan"
6"Carter"
places
0"London"
1"Cardiff"
2"Soho"
3"Europe"
4"Wales"
globalScore0.714
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1916
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences132
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs67
mean28.6
std19.34
cv0.676
sampleLengths
021
138
210
326
427
571
630
730
85
933
1040
115
126
1332
1443
155
1638
1738
1847
195
207
218
2282
2380
2412
252
2656
2762
285
2938
3015
3148
3243
3315
343
3535
3640
3716
3848
3949
4026
4133
4228
4349
4412
4540
464
4714
4843
4946
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences99
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs211
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences132
ratio0.008
matches
0"The bright blue in her eyes wasn't cold; it was entirely empty."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount516
adjectiveStacks0
stackExamples(empty)
adverbCount12
adverbRatio0.023255813953488372
lyAdverbCount1
lyAdverbRatio0.001937984496124031
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences132
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences132
mean14.52
std9.64
cv0.664
sampleLengths
021
18
218
312
410
54
622
710
817
911
1025
1125
1210
139
144
1517
1620
1710
185
1915
2018
217
2216
2317
245
256
2617
277
288
296
3033
314
325
3327
3411
3519
3615
374
3811
3936
405
417
428
435
446
4546
4625
474
484
4937
50.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3484848484848485
totalSentences132
uniqueOpeners46
72.46% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences92
matches
0"Really stared at him."
1"Slowly, Evan picked up the"
ratio0.022
76.52% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences92
matches
0"Her fingers were already numb"
1"It carried a thick, slick"
2"She pulled her arms out"
3"He looked smaller than he"
4"Her voice didn't shake."
5"Her left wrist twitched, the"
6"She kept her arms crossed,"
7"She reached for a clean"
8"She slid it across the"
9"It stopped an inch from"
10"He looked down at the"
11"He tested the name like"
12"He waved a hand vaguely"
13"She remembered a boy who"
14"She remembered the man he"
15"she said softly"
16"She leaned over the counter,"
17"She slid her sleeve back,"
18"His chest rose and fell"
19"He slammed his palm onto"
ratio0.359
3.48% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences92
matches
0"The silver signet ring hit"
1"Rory didn't look up from"
2"Her fingers were already numb"
3"The voice was wrong."
4"It carried a thick, slick"
5"Rory froze, her hands dripping"
6"She pulled her arms out"
7"Evan sat on the third"
8"He looked smaller than he"
9"The sharp, cruel edge of"
10"A thin scar bisected his"
11"Her voice didn't shake."
12"Evan reached out, his long"
13"Evan smiled, though the expression"
14"Rory gripped the edge of"
15"Her left wrist twitched, the"
16"She kept her arms crossed,"
17"She reached for a clean"
18"She slid it across the"
19"It stopped an inch from"
ratio0.913
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences92
matches(empty)
ratio0
94.16% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount3
matches
0"He looked smaller than he had in Cardiff, his broad shoulders pulled tight beneath a charcoal wool coat that had never seen a Welsh rainstorm."
1"He looked down at the water, then back up at her, taking in the black shoulder-length hair, the dark circles under her bright blue eyes, the oversized woolen ju…"
2"The girl who used to cry in the back of his car when they argued was gone, buried under three years of London rain and cheap takeaway grease."
28.23% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags31
uselessAdditionCount6
matches
0"Evan took, his nose twitching slightly at the chlorine tang"
1"Rory said, her voice dropping to a harsh, dangerous whisper"
2"he said, his voice dropping into a parting venom"
3"Silas asked, his voice low and gravelly"
4"the courier panted, his breath hitching"
5"she said, her muscles tensing instantly"
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags17
fancyCount6
fancyTags
0"Evan murmured (murmur)"
1"he whispered (whisper)"
2"Silas noted quietly (note)"
3"the courier panted (pant)"
4"Silas growled (growl)"
5"Rory whispered (whisper)"
dialogueSentences60
tagDensity0.283
leniency0.567
rawRatio0.353
effectiveRatio0.2
83.2551%