Real-Time Analysis

Overview

Genesis Writer's real-time analysis engine scans your prose as you write, flagging common issues that weaken creative fiction. It runs quietly in the background, highlighting problems directly in the editor and presenting a categorized summary in the Analysis panel.

The engine detects 10 categories of issues — from passive voice and weak verbs to monotonous sentence rhythm. Each issue includes a description, a suggestion for improvement, and a severity level so you can prioritize what to fix first.

This isn't about rigid grammar rules. It's about giving you visibility into patterns that can make prose feel flat, wordy, or repetitive — so you can make intentional choices about your writing.

Opening the Analysis Panel

To enable analysis:

1. Open any draft node in the draft editor.
2. Click the Prose Analysis button in the tools panel (the toolbox icon on the left side of the editor).
3. Issues appear immediately — the engine runs on your current content as soon as the panel opens.

The panel shows a summary of all detected issues grouped by category, along with your readability metrics and prose score. Each category displays a count badge so you can see at a glance where the most issues are.

The Analysis panel — your real-time manuscript health dashboard

The 10 Issue Categories

Each category targets a specific pattern that tends to weaken creative prose. Here's what each one detects and why it matters.

Passive Voice

Flags constructions where the subject receives the action instead of performing it. Phrases like “was written by”, “had been placed”, or “is being watched” are flagged with a suggestion to rewrite in active voice.

Active voice keeps prose direct and energetic. Instead of “The letter was written by Sarah”, consider “Sarah wrote the letter.” The detector handles both regular past participles (e.g., “was opened”) and irregular forms (e.g., “was drawn”, “was hidden”).

The detector is smart about false positives. Participial adjectives like “was tired”, “was interested”, or “was married” are not flagged because they describe a state, not a passive action.

Weak Verb

Catches “telling” verbs that describe a state rather than showing it through action or detail. Phrases like “was sad”, “felt angry”, “seemed nervous”, or “looked tired” are flagged.

The fix isn't just swapping the verb — it's about showing the emotion through behavior, body language, or action. Instead of “He was angry,” try “He slammed the door and paced the room.”

The detector carefully distinguishes weak copula verbs from auxiliaries. “He was running” (auxiliary + gerund) is perfectly fine and won't be flagged. “It was a dark night” (existential) is also ignored.

Weak Adverb

Flags adverbs that dilute your prose instead of strengthening it. Words like “very”, “really”, “quite”, “extremely”, and “slightly” often signal that a stronger verb or more precise description would serve the sentence better.

Instead of “She was very tired,” try “She was exhausted.” Instead of “He ran really fast,” try “He sprinted.” The suggestion is to either remove the adverb or strengthen the verb it modifies.

Wordy Phrase

Detects multi-word phrases that can be replaced with shorter, clearer alternatives. For example:

• “due to the fact that” → “because”
• “in order to” → “to”
• “at this point in time” → “now”
• “a large number of” → “many”

These phrases add syllables without adding meaning. Trimming them tightens your prose and improves pacing, especially in dialogue and action sequences where every word should earn its place.

Redundant Phrase

Catches phrases that say the same thing twice. Classic examples include:

• “free gift” → “gift”
• “past history” → “history”
• “advance warning” → “warning”
• “completely destroyed” → “destroyed”

Redundancy is different from emphasis. Sometimes repetition is intentional for dramatic effect. But when it's unintentional, it makes prose feel padded and imprecise.

Long Sentence

Warns when a sentence exceeds 25 words, with a stronger warning for sentences over 40 words. Long sentences aren't always bad — literary fiction thrives on them — but they can lose readers when overused or when the structure becomes hard to follow.

The suggestion is to consider splitting the sentence into two or more shorter ones. Look for natural break points: conjunctions (“and”, “but”), relative clauses (“which”, “who”), or transitions between ideas.

Repeated Word

Words repeated in close proximity are highlighted. Unintentional repetition creates an echo effect that pulls readers out of the story.

When you see a repeated word flagged, consider using a synonym, restructuring the sentence, or combining the two sentences where the repetition occurs.

Overused Word

A document-level detector that flags words appearing disproportionately often across your entire draft.

Words inside dialogue are excluded from overuse detection — characters are allowed to have verbal tics and repeated phrases. Common English stop words are also excluded so you're not flagged for using “the” or “said.”

The most overused words are surfaced, sorted by frequency. This helps you catch unconscious word habits you might not notice in a close read.

Punctuation

Catches punctuation issues that typically slip in during fast drafting:

• Double spaces — two or more consecutive spaces between words.
• Multiple exclamation marks — “!!” or “!!!” in non-dialogue text.
• Multiple question marks — “??” or “???” where a single mark suffices.

These are quick, easy fixes that clean up your manuscript before export.

Monotonous Rhythm

Sequences of sentences with very similar length are flagged to help you vary your rhythm. This metronomic effect can lull readers or make prose feel mechanical.

Good prose has varied rhythm. Short, punchy sentences build tension. Long, flowing sentences slow the pace. When every sentence is roughly the same length, neither effect lands. The fix is usually straightforward: combine two short sentences into one longer one, or break a longer sentence into fragments.

Category Reference Table

Here's a quick reference for all 10 issue categories:

Severity Levels

Each issue is assigned one of three severity levels to help you prioritize:

• Warning — issues that are likely to impact readability. Currently reserved for very long sentences (40+ words). These deserve attention.
• Suggestion — patterns that often weaken prose but may be intentional. Passive voice, weak verbs, wordy phrases, redundant phrases, and overused words fall here. Review these and decide case by case.
• Info — gentle flags for awareness. Weak adverbs, repeated words, punctuation issues, and monotonous rhythm are informational. They help you see patterns without implying something is wrong.

Navigating Issues

The analysis panel isn't just a summary — it's interactive. Click any issue in the panel to jump directly to the highlighted text in the editor. The editor scrolls to the flagged passage and selects it so you can see exactly what was detected.

Issues are also highlighted inline in the editor with color-coded underlines. Each category has a distinct color so you can visually scan your draft for patterns without opening the panel.

Color-coded inline highlights make issues visible at a glance

Smart Detection

When multiple issues overlap on the same text, the most relevant detection takes priority. This ensures the issue list is clean and actionable — you won't see redundant flags for the same passage.

Incremental Analysis

Performance matters when you're writing. Analysis updates incrementally as you edit, only re-analyzing paragraphs that have changed. This means the analysis stays fast even in long manuscripts. Whether your draft is 500 words or 50,000, you'll see results update in real time as you write.

Tips for Using Analysis

• Don't chase a zero-issue count. Great fiction breaks “rules” intentionally. Passive voice in dialogue, a weak verb for pacing, a long sentence for atmospheric effect — these are valid choices. Use the analysis to find unintentional patterns, not to eliminate every flag.
• Focus on one category at a time. Trying to fix everything at once is overwhelming. Pick a category — say, wordy phrases — and work through those flags, then move to the next.
• Check your prose score after edits. The prose score updates in real time as you fix issues. It's satisfying to watch it climb, and it gives you a sense of overall progress.
• Use analysis with selection tools. If a passage has multiple issues, select it and use Rewrite to get a fresh version. The AI is aware of your writing style and will produce cleaner prose.
• Run analysis on a finished draft, not a first draft. First drafts are for getting ideas down. Analysis is most valuable during revision, when you're polishing prose for clarity and impact.