Run: 2026-02-19-01KHT03YNP5YYAEDTSJ8FNWSPE

Run Details

Model:: Rocinante 12B
Test:: Bad Writing Habits
Scenario:: Mystery: examining a crime scene
Duration:: 2m 4s
Cost:: $0.004848
Provider:: Infermatic

Evaluation summary

Score	Evaluator	Details Link
100.00%	Adverbs in dialogue tags	(details)
92.25%	AI-ism adverb frequency	(details)
100.00%	AI-ism character names	(details)
100.00%	AI-ism location names	(details)
37.98%	AI-ism word frequency	(details)
100.00%	Cliché density	(details)
100.00%	Emotion telling (show vs. tell)	(details)
100.00%	Filter word density	(details)
18.57%	Gibberish response detection	(details)
100.00%	Markdown formatting overuse	(details)
100.00%	Missing dialogue indicators (quotation marks)	(details)
54.26%	Name drop frequency	(details)
100.00%	Narrator intent-glossing	(details)
100.00%	"Not X but Y" pattern overuse	(details)
100.00%	Overuse of "that" (subordinate clause padding)	(details)
100.00%	Paragraph length variance	(details)
100.00%	Passive voice overuse	(details)
100.00%	Past progressive (was/were + -ing) overuse	(details)
10.99%	Em-dash & semicolon overuse	(details)
100.00%	Purple prose (modifier overload)	(details)
100.00%	Repeated phrase echo	(details)
100.00%	Sentence length variance	(details)
95.38%	Sentence opener variety	(details)
65.36%	Adverb-first sentence starts	(details)
100.00%	Pronoun-first sentence starts	(details)
100.00%	Subject-first sentence starts	(details)
98.04%	Subordinate conjunction sentence starts	(details)
100.00%	Technical jargon density	(details)
75.00%	Useless dialogue additions	(details)
97.37%	Dialogue tag variety (said vs. fancy)	(details)
88.1732%	Overall

Model input

System

You are an expert and award-winning novel writer in the dark Mystery 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist">
  <eyeColor>brown</eyeColor>
  <hair>closely cropped salt-and-pepper</hair>
  <height>5'9"</height>
  <age>41</age>
  <jawline>sharp jaw</jawline>
  <watch>worn leather watch on her left wrist</watch>
  <bearing>military precision</bearing>
  <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description>
  <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory>
</character>

<character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend">
  <eyeColor>green</eyeColor>
  <hair>curly red</hair>
  <height>5'4"</height>
  <age>26</age>
  <glasses>round glasses</glasses>
  <satchel>worn leather satchel full of books</satchel>
  <freckles>freckled complexion</freckles>
  <nervousHabit>tucking hair behind her left ear</nervousHabit>
  <description>Aurora's childhood friend and an occult researcher.</description>
  <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory>
</character>

<location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth">
  <currentLocation>abandoned Tube station beneath Camden</currentLocation>
  <entryRequirement>bone token</entryRequirement>
  <schedule>moves locations every full moon</schedule>
  <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description>
</location>

<item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market">
  <casingMaterial>small brass compass</casingMaterial>
  <faceMarkings>face etched with protective sigils</faceMarkings>
  <needle>points toward the nearest supernatural rift or portal</needle>
  <patina>casing has a patina of verdigris</patina>
  <creator>crafted by a Shade artisan</creator>
  <description>A compass attuned to supernatural energy.</description>
</item>
</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 mystery genre.

A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed.

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

The body hung like a morbid chandelier from the rafters.

Detective Harlow Quinn paused at the entrance to the abandoned theatre, observing the scene. The corpse swayed gently, caught in the draft from above. A woman in her mid-30s, neck broken, face frozen in terror. A tattoo of a raven peered out from under her ponytail.

"No sign of forced entry," Detective Simmons said from the doorway. "Security guard says the chain was intact when he found it."

"Mmm." Quinn circled the body, boots crunching on debris. The old theatre had seen better days. Drapes filthy, seats ripped, stage buckled. Perfect venue for a twisted performance.

She crouched, eyeing the noose. Coiled rope, tight knot. Twisted twice around the support beam above. Tagged with a symbol - Greek letter Sigma, but reversed. Amateur mysticism.

"Give me a hand, will you?" Quinn stood on a chair, reaching for the noose.

Simmons joined her, peering at the tag. "Greek alphabet?" He traced the symbol. "Someone's trying too hard."

Quinn grunted in agreement, untying the rope. The body thumped to the ground with an almost comical boing. She rolled the woman over. Contusions on throat. acquainted with the mark of a noose.

"She went peacefully," Quinn observed. "Not a struggle."

Simmons nodded, snapping photos with his handheld tracker. The crime scene AI whirred, scanning for evidence.

"No lived-in apartment," Simmons read from his pad. "No job. No family. Just her name in the registry - Marie consecutive, born cleared-end."

The camera flashed as it scanned the body. Quinn listened to the readout, head cocked to the side.

"Cause of death is asphyxiation," she began. "No defensive wounds. No signs of narcotics or intoxication. Points to suicide."

Simmons stopped scanning. "Suicide in an abandoned theatre, with crude Greek tags? Doesn't make sense."

Quinn didn't reply, running experienced hands over the woman's stiff limbs. The ropecontact left unmistakable marks on the neck. No ligature marks on wrists or an-kin feet.
 She checked the rope bite left on the beam. It matched the noose in diameter and tightness. Not enough slack to thrash about.

*What exactly happened here?* Her years at the Yard told her one thing:
Anyone could play at subterfuge. But people were creatures of habit. They. Left traces. Of their lives. Past. Be that a donut stain on a- police cap. A missing button on their  suit coat. Often that's all it took.

*What'' complimented*  Marie Consistency  The begun? *What secrets had she died taking with her?*

Quinn asked Simmons, ' "Contact IO for her full registry listing. I AA something fishy about this one."  Her Gaurt hi' an autoreport AI slung at her shoulder, under her FBI down jacket. She snapped a photo of the noose with her compad. "Let's call in Crim Pod. Find me<liu>the boots.<PEON>also need nearby security feeds. should</o<NoPEON>m, this way"

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*Consistent minds,* Quinn mused <olmoGray><LIU>oloam thoughtsknowle<o<NoPEON>ing Mary Consistency actuar<o<NoPEON>CC records—super rec<o<NoPEON> SAC for 5 years, no criminal r<o<NoPEON> recs beyond that." CrimSC Dornesviels added s<o<NoPEON>on the body.</olmoPurple><LIU>novariet</olmoPurple><o<NoPEON>ancee</o<o<NoPEON>d  "Not your average suicid<o<NoPEON> toloam.</OLUST_section," the-artboard.<o<No<olmoGrayProtected><ori><oliange>on</o<NoPEON>Curious...</oliange><o<NoPE<oliange><o<NoPEON>e. Th<o<NoPEON>n it was</oliange><o<o<NoPEON>to suicide. But<o<o<NoPEON>hephrase</o<NoPEON> of a possible</o<olly, Quinn finally broke the silence. "I'll need you to run a registry check on the vic.  t keeps circle spaces, pic</oliange><LIU>lette or weapons beacon,” façade[oliange><o<olmoSefoldColored@section," es, no, no, don't get me</o<NoPEON>ing alike. Brad</oliange><o<NoPEON>ing in all wri<o<NoPEON>ng maxi</oliange><oliange><NoPEON>t to see the</o<o<No<oliange><oliange><oliange>< oliangeline, "consistent with fact</o<oliange><o<NoPEON>io of the most pa<oliange><o<NoPEON>se interpreted in the</o<oliange><olmoLight>< 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<oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange><oliange>
  <oliPurple><oluescrRE<Sbur>l trot de bsy in  <oliange><oliange><oliange><oULUST-S>n ge <oLUST-ag<oLUST-tang><oliange><oliang   <oliange><oliange><oliange><olmiStrength><oliange><oliange>,-g<oliangest<oliange><oliang<oliange><oliang<oliange><oliang<moSaari)<stm><oliange><oliangeSHite,_MSTreng>

  <oliang<oliangee</oR crystal hound, olivang>ng to the natively  ólHt _these</oliangesAmnliangereate ol Olive<oliangee>ngted obs<olivf<oliangeSw permit me to stf_srepresentech ,_stinf{lngh _.<eTHealifιστs Са Spiritualism.>

  from olistright</oliangand the hound,APos<AL Mild-maydfforence,<o,oliangeelent knowledge Several these<PEON> Claude O-ass’état</PRESERVE<IEL its and devidderonols<PEON>s. But o,stqently<AL.Oivcupes a peculiar pole<oliange?in occu<oliangesm Satur,_the||lectual world. hisi_a<o n;iage_sassy<oliange!</oliange>Pat, _I-faced par-ats_Olhngng/ed _tion, _but<o<oli>

Evaluation details

Result

Evaluator

Details

Meta Data

100.00%

Adverbs in dialogue tags

Target: ≤10% dialogue tags with adverbs

totalTags	10
adverbTagCount	0
adverbTags	(empty)
dialogueSentences	19
tagDensity	0.526
leniency	1
rawRatio	0
effectiveRatio	0

92.25%

AI-ism adverb frequency

Target: <2% AI-ism adverbs (58 tracked)

wordCount

645

totalAiIsmAdverbs

found

adverb	"gently"
count	1

highlights

"gently"

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)

37.98%

AI-ism word frequency

Target: <2% AI-ism words (290 tracked)

wordCount

645

totalAiIsms

found

word	"perfect"
count	1

word	"traced"
count	1

word	"scanning"
count	2

word	"scanned"
count	1

word	"silence"
count	1

word	"beacon"
count	1

word	"crystal"
count	1

highlights

0	"perfect"
1	"traced"
2	"scanning"
3	"scanned"
4	"silence"
5	"beacon"
6	"crystal"

100.00%

Cliché density

Target: ≤1 cliche(s) per 800-word window

totalCliches	0
maxInWindow	0
found	(empty)
highlights	(empty)

100.00%

Emotion telling (show vs. tell)

Target: ≤3% sentences with emotion telling

emotionTells

narrationSentences

matches

0	"n in terror"

100.00%

Filter word density

Target: ≤3% sentences with filter/hedge words

filterCount	0
hedgeCount	0
narrationSentences	57
filterMatches	(empty)
hedgeMatches	(empty)

18.57%

Gibberish response detection

Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)

analyzedSentences

gibberishSentences

adjustedGibberishSentences

longSentenceCount

runOnParagraphCount

giantParagraphCount

wordSaladCount

repetitionLoopCount

controlTokenCount

maxSentenceWordsSeen

ratio

0.123

matches

0	"\"Let's call in Crim Pod. Find me<liu>the boots.<PEON>also need nearby security feeds. should</o<NoPEON>m, this way\""
1	"\"what w<PEON>r you thinking? manusce<LIU>ptive ending, but al<o<NoPEON>es clearly not su<LIU>icide.\" <olmoLight><liu> wondersabout the angle of youth Pi<o<NoPEON>conse</olmoDark>"
2	"Consistent minds, Quinn mused <olmoGray><LIU>oloam thoughtsknowle<o<NoPEON>ing Mary Consistency actuar<o<NoPEON>CC records—super rec<o<NoPEON> SAC for 5 years, no criminal r<o<No…"
3	"t keeps circle spaces, pic</oliange><LIU>lette or weapons beacon,” façade[oliange><o<olmoSefoldColored@section,\" es, no, no, don't get me</o<NoPEON>ing alike."
4	"Brad</oliange><o<NoPEON>ing in all wri<o<NoPEON>ng maxi</oliange><oliange><NoPEON>t to see the</o<o<No<oliange><oliange><oliange>< oliangeline, \"consistent with fact</o<oliange><o<…"
5	"<oliPurple><oluescrRE<Sbur>l trot de bsy in <oliange><oliange><oliange><oULUST-S>n ge <oLUST-ag<oLUST-tang><oliange><oliang <oliange><oliange><oliange><olmiStrength><oliange><olian…"
6	"<oliang<oliangee</oR crystal hound, olivang>ng to the natively \u0014 ólHt _these</oliangesAmnliangereate ol Olive<oliangee>ngted obs<olivf<oliangeSw permit me to stf_srepresentech ,_st…"
7	"from olistright</oliangand the hound,APos<AL Mild-maydfforence,<o,oliangeelent knowledge Several these<PEON> Claude O-ass’état</PRESERVE<IEL its and devidderonols<PEON>s. But o,stq…"

100.00%

Markdown formatting overuse

Target: ≤5% words in markdown formatting

markdownSpans

markdownWords

totalWords

640

ratio

0.047

matches

0	"What exactly happened here?"
1	"What'' complimented"
2	"What secrets had she died taking with her?"
3	"Consistent minds,"
4	"these</oliangesAmnliangereate ol Olive<oliangee>ngted obs<olivf<oliangeSw permit me to stf"
5	"the\|\|lectual world. hisi"
6	"sassy<oliange!</oliange>Pat, _I-faced par-ats"

100.00%

Missing dialogue indicators (quotation marks)

Target: ≤10% speech attributions without quotation marks

totalAttributions	7
unquotedAttributions	0
matches	(empty)

54.26%

Name drop frequency

Target: ≤1.0 per-name mentions per 100 words

totalMentions

wordCount

470

uniqueNames

maxNameDensity

1.91

worstName

"Quinn"

maxWindowNameDensity

worstWindowName

"Quinn"

discoveredNames

Harlow	1
Quinn	9
Simmons	5
Greek	1
Sigma	1
Yard	1
Mary	1
Consistency	1
Several	1
Claude	1

persons

0	"Harlow"
1	"Quinn"
2	"Simmons"
3	"Mary"
4	"Consistency"
5	"Claude"

places

(empty)

globalScore

0.543

windowScore

0.667

100.00%

Narrator intent-glossing

Target: ≤2% narration sentences with intent-glossing patterns

analyzedSentences	41
glossingSentenceCount	0
matches	(empty)

100.00%

"Not X but Y" pattern overuse

Target: ≤1 "not X but Y" per 1000 words

totalMatches	0
per1kWords	0
wordCount	640
matches	(empty)

100.00%

Overuse of "that" (subordinate clause padding)

Target: ≤2% sentences with "that" clauses

thatCount

totalSentences

matches

0	"Be that a"

100.00%

Paragraph length variance

Target: CV ≥0.5 for paragraph word counts

totalParagraphs

mean

29.09

std

20.97

0.721

sampleLengths

0	10
1	46
2	22
3	28
4	28
5	15
6	17
7	33
8	8
9	16
10	23
11	18
12	19
13	15
14	50
15	52
16	14
17	58
18	18
19	102
20	21
21	27

100.00%

Passive voice overuse

Target: ≤2% passive sentences

passiveCount	0
totalSentences	57
matches	(empty)

100.00%

Past progressive (was/were + -ing) overuse

Target: ≤2% past progressive verbs

pastProgressiveCount	0
totalVerbs	73
matches	(empty)

10.99%

Em-dash & semicolon overuse

Target: ≤2% sentences with em-dashes/semicolons

emDashCount

semicolonCount

flaggedSentences

totalSentences

ratio

0.046

matches

0	"Tagged with a symbol - Greek letter Sigma, but reversed."
1	"Consistent minds, Quinn mused <olmoGray><LIU>oloam thoughtsknowle<o<NoPEON>ing Mary Consistency actuar<o<NoPEON>CC records—super rec<o<NoPEON> SAC for 5 years, no criminal r<o<NoPEON> recs beyond that.\" CrimSC Dornesviels added s<o<NoPEON>on the body.</olmoPurple><LIU>novariet</olmoPurple><o<NoPEON>ancee</o<o<NoPEON>d \"Not your average suicid<o<NoPEON> toloam.</OLUST_section,\" the-artboard.<o<No<olmoGrayProtected><ori><oliange>on</o<NoPEON>Curious...</oliange><o<NoPE<oliange><o<NoPEON>e. Th<o<NoPEON>n it was</oliange><o<o<NoPEON>to suicide. But<o<o<NoPEON>hephrase</o<NoPEON> of a possible</o<olly, Quinn finally broke the silence. \"I'll need you to run a registry check on the vic."
2	"from olistright</oliangand the hound,APos<AL Mild-maydfforence,<o,oliangeelent knowledge Several these<PEON> Claude O-ass’état</PRESERVE<IEL its and devidderonols<PEON>s. But o,stqently<AL.Oivcupes a peculiar pole<oliange?in occu<oliangesm Satur,_the\|\|lectual world. hisi_a<o n;iage_sassy<oliange!</oliange>Pat, _I-faced par-ats_Olhngng/ed _tion, _but<o<oli>"

100.00%

Purple prose (modifier overload)

Target: <4% adverbs, <2% -ly adverbs, no adj stacking

wordCount	443
adjectiveStacks	0
stackExamples	(empty)
adverbCount	10
adverbRatio	0.022573363431151242
lyAdverbCount	7
lyAdverbRatio	0.01580135440180587

100.00%

Repeated phrase echo

Target: ≤20% sentences with echoes (window: 2)

totalSentences	65
echoCount	0
echoWords	(empty)

100.00%

Sentence length variance

Target: CV ≥0.4 for sentence word counts

totalSentences

mean

9.85

std

8.17

0.83

sampleLengths

0	10
1	14
2	10
3	11
4	11
5	11
6	11
7	9
8	7
9	6
10	6
11	5
12	4
13	7
14	10
15	2
16	15
17	7
18	6
19	4
20	7
21	11
22	5
23	3
24	7
25	5
26	3
27	8
28	8
29	8
30	15
31	8
32	10
33	7
34	12
35	3
36	12
37	11
38	8
39	8
40	9
41	8
42	6
43	13
44	5
45	6
46	1
47	2
48	3
49	1

95.38%

Sentence opener variety

Target: ≥60% unique sentence openers

consecutiveRepeats	3
diversityRatio	0.6153846153846154
totalSentences	65
uniqueOpeners	40

65.36%

Adverb-first sentence starts

Target: ≥3% sentences starting with an adverb

adverbCount

totalSentences

matches

0	"Often that's all it took."

ratio

0.02

100.00%

Pronoun-first sentence starts

Target: ≤30% sentences starting with a pronoun

pronounCount

totalSentences

matches

0	"She crouched, eyeing the noose."
1	"He traced the symbol"
2	"She rolled the woman over."
3	"She checked the rope bite"
4	"It matched the noose in"
5	"She snapped a photo of"

ratio

0.118

100.00%

Subject-first sentence starts

Target: ≤72% sentences starting with a subject

subjectCount

totalSentences

matches

0	"The body hung like a"
1	"Detective Harlow Quinn paused at"
2	"The corpse swayed gently, caught"
3	"A woman in her mid-30s,"
4	"A tattoo of a raven"
5	"Detective Simmons said from the"
6	"Quinn circled the body, boots"
7	"The old theatre had seen"
8	"Drapes filthy, seats ripped, stage"
9	"She crouched, eyeing the noose."
10	"Quinn stood on a chair,"
11	"Simmons joined her, peering at"
12	"He traced the symbol"
13	"Quinn grunted in agreement, untying"
14	"The body thumped to the"
15	"She rolled the woman over."
16	"Contusions on throat."
17	"Simmons nodded, snapping photos with"
18	"The crime scene AI whirred,"
19	"Simmons read from his pad"

ratio

0.667

98.04%

Subordinate conjunction sentence starts

Target: ≥2% sentences starting with a subordinating conjunction

subConjCount

totalSentences

matches

0	"<oliang<oliangee</oR crystal hound, olivang>ng to"

ratio

0.02

100.00%

Technical jargon density

Target: ≤6% sentences with technical-jargon patterns

analyzedSentences	12
technicalSentenceCount	0
matches	(empty)

75.00%

Useless dialogue additions

Target: ≤5% dialogue tags with trailing filler fragments

totalTags

uselessAdditionCount

matches

0	"Quinn circled, boots crunching on debris"

97.37%

Dialogue tag variety (said vs. fancy)

Target: ≤10% fancy dialogue tags

totalTags

fancyCount

fancyTags

0	"Quinn observed (observe)"

dialogueSentences

tagDensity

0.158

leniency

0.316

rawRatio

0.333

effectiveRatio

0.105

88.1732%