Run: 2026-02-19-01KHT08RDMYQFKZ75V033657JS

Run Details

Duration:
54.0s
Cost:
$0.058190
Provider:
Google AI Studio

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

AI
"Don't step in the sludge, Miller. Unless you want to lose that boot." Detective Harlow Quinn shone her torch beam onto the kaleidoscope of viscous fluid pooled on the cracked tiles. It shimmered with an oil-slick rainbow sheen, but beneath the surface, faint luminescence pulsed like a dying heartbeat. It smelled of ozone, burnt sugar, and something copper-sharp that coated the back of the tongue. "It's just chemical runoff, Guv." DC Miller sidestepped a pile of rotted wooden palpitations, his voice echoing too loudly in the subterranean silence. "These abandoned Tube stations are full of it. Asbestos, grime, god knows what leaking from the sewers above." "Sewers don't run uphill." Harlow crouched, her knees popping slightly—a reminder of forty-one years, half of them spent chasing shadows in London’s gutters. She pulled a glass vial from her kit. With the precision of a bomb disposal technician, she skimmed a sample of the goo. The glass hissed. "And sewage doesn't glow." "Meth lab, then," Miller countered, playing the torch over the curved, soot-stained walls of the tunnel. "We're fifty feet under Camden. Perfect spot for a cook. Ventilation's rubbish, though. Explains why they scarpered." Harlow stood, smoothing the crease in her trousers. Her salt-and-pepper hair was cropped close, practical, contrasting with the sharp, feminine angles of her jaw. "They didn't scarper, Miller. They packed up. There's a difference." She walked further into the hollowed-out station. This wasn't just some forgotten maintenance shaft; the architecture was Victorian, the tiling ornate despite the layers of filth. It felt heavy. The air pressure was wrong here, pressing against her eardrums like she was underwater. "Look at the dust," she commanded, pointing her beam at the floor. Miller squinted. "Footprints. Lots of 'em. Trainers, mostly." "Pattern," Harlow snapped. "Look at the pattern." The dust wasn't just disturbed; it was swept clean in perfect circles, arranged around makeshift stalls that were no longer there. Rectangular voids in the grime marked where tables had stood hours ago. "Market stalls," Miller muttered, realization struggling against his skepticism. "An underground rave? Pop-up shop?" "Something like that." Harlow moved to the center of the largest clear space. She felt it again—that prickle at the base of her neck. The sensation she hadn't felt since Morris died. The feeling of being watched by something that didn't have eyes. She checked the worn leather watch on her left wrist. Midnight. "Found something," Miller called out from a dark alcove near the tunnel mouth. Harlow joined him. He was nudging a small object with the toe of his boot. "Careful." She pushed past him. It was a small, round disk, carved from something porous and yellowed. A bone token. A crude rune was scratched into the surface. "Keep away out," Miller interpreted. "Gang tag. Told you. Drug territory." "It's an entry ticket." Harlow bagged the token, fighting the urge to let her skin brush against it. It felt cold, colder than the ambient temperature. "And this isn't a gang tag. It's a ward." "A what? Like... for ghosts?" Miller chuckled, but the sound died quickly in the oppressive dark. "For keeping things out. Or keeping them in." Harlow turned her back on him, scanning the alcove. Her light caught on something metallic wedged into a crack in the brickwork. She prized it out. A brass compass, heavy for its size. The casing was green with verdigris, ancient and neglected, but the glass face was uncracked. Etched into the brass were symbols that made her eyes water if she focused on them too long. "Antique," Miller said, peering over her shoulder. "Pawn shop loot? Probably dropped it when they ran." Harlow held the compass flat in her palm. The needle didn't point North. It spun. It whipped around wildly, vibrating against the pin, before locking hard to the right—pointing directly at a solid brick wall. "Compass is broken," Miller said. "It's working perfectly." Harlow stared at the wall. The mortar was crumbling, but the bricks looked solid. Yet, the needle insisted. *Here. Here. Here.* She remembered the file on her desk. The rumors of the 'Veil Market'. A place that moved with the moon. A place where the city's impossible commerce took place. Morris had tracked it for months before he bled out in an alleyway with no shooter in sight. "Stand back," Harlow ordered. "Guv, it's a wall. Unless you're planning to headbutt it, I don't see what—" Harlow raised her hand to the brickwork. She didn't touch it. She hovered her palm an inch away. Heat radiated from the cold stone. A hum, low and vibrating, traveled up her arm, settling in her teeth. "Someone was here," she whispered. "Tonight. And they left this behind." She pocketed the compass. "We need forensics on the fluid. And get a team to scan this wall for voids." "Voids? You think there's a room behind there?" "I think there's a whole bloody station behind there that isn't on the maps." Harlow turned, her boot crunching on something brittle. She looked down. Glass. Broken spectacles. Round frames. She crouched again, picking up the twisted metal. A fragment of a lens remained. There was a smear of blood on the rim. "Miller, bag this. Separately. Fast track DNA." "Who do you think it belongs to?" "A witness," Harlow said, her mind flashing to the dossier of associates connected to the clique she'd been tracking. A redhead. *Eva Kowalski*. Researcher. "Or a victim." A sound echoed from the tunnel deeper in—the direction the compass needle had ignored. *Scritch. Scritch. Drag.* Miller spun around, hand going to his baton. "Hello? Police! Show yourself!" The sound stopped. "Miller," Harlow said, her voice dropping to a command frequency that brooked no argument. "Don't move." "It's just a squatter, Guv." "Light off. Now." "What?" "Kill the light!" Harlow killed her torch, plunging them into absolute, suffocating darkness. The afterimage of the flashlight beam burned in her retinas. In the silence, the sound returned. Closer. It wasn't footsteps. It sounded like dry leaves skittering over pavement, or sandpaper on bone. *Scritch. Scritch.* "I don't like this," Miller whispered, his breath shallow. "Quiet." Harlow’s hand drifted to her side, finding the reassurance of her holster, though she suspected lead created in a factory would do little good here. She watched the darkness. Gradually, her eyes adjusted, aided by the faint, impossible luminescence of the sludge pool ten meters back. A shadow detached itself from the ceiling. It was darker than the surrounding gloom, a tear in the fabric of the tunnel. It was roughly humanoid but elongated, its limbs possessing too many joints. It hung upside down, clinging to the vaulted bricks like a bat. Miller shifted his weight. His boot squeaked. The shadow's head snapped toward them. Two pinpricks of white light flared where eyes should have been. "Run," Harlow promised the darkness more than she commanded her partner. The creature dropped. It didn't fall; it flowed, hitting the floor with the sound of a wet sack and rising instantly, spikes of solidified darkness erupting from its shoulders. "Miller, move!" Harlow roared, snapping her torch back on and aiming it directly at the thing's face. The beam hit the creature and it shrieked—a sound of tearing metal. It recoiled, smoke rising from its skin where the photons hit. Harlow grabbed Miller by the collar of his stab vest and shoved him toward the exit. "Go! Up the ladder! Now!" Miller didn't argue. He scrambled back, boots slipping on the grime. Harlow walked backward, keeping the beam trained on the entity. It hissed, pacing just beyond the circle of light, testing the edges. It was herding her. Not away from the exit, but way from the wall the compass had pointed to. It was guarding the breach. "We need backup!" Miller shouted from deeper up the tunnel. "We need a priest," Harlow grit out. The thing lunged. Harlow fired—not her gun, but the torch, narrowing the beam to its highest intensity. She swept it across the creature's legs. The shadow severed. The legs dissolved into smoke, reforming seconds later, but the delay bought her five yards. She reached the iron rungs of the maintenance shaft. Miller was already halfway up, panting, radioing for help that wouldn't understand what they were hearing. Harlow Holstered the torch, grabbed the cold iron, and began to climb, the shrieks below morphing into a guttural, mocking laughter that sounded suspiciously like Morris's voice. She didn't look down. She looked up, at the grate showing the orange glow of London's streetlamps. *They left a guard dog,* she thought, her heart hammering military time against her ribs. *Which means they left something worth protecting.* A claw raked against the metal rungs just inches below her boot. Harlow vaulted the last three feet, tucking and rolling onto the damp pavement of the alleyway surface, kicking the grate shut behind her. She slammed her body weight onto the iron cover just as something slammed into it from below, making the heavy metal jump. Miller was staring at her, pale as a sheet, radio dangling from his hand. "What... what was that? A bear? A freak in a costume?" Harlow stood up, brushing the tunnel filth from her knees. She felt the compass vibrating in her pocket, hot against her hip. She looked at the blood-smeared glasses in the evidence bag Miller clutched. "That," Harlow said, watching the grate settle, "was a lead."
created_at"2026-02-19T03:49:30.186Z" 2/19/2026, 3:49:30 AM
model"google/gemini-3-pro-preview-20251117"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3627
moderation_latency(null)
generation_time53842
tokens_prompt4671
tokens_completion3403
native_tokens_prompt4537
native_tokens_completion4093
native_tokens_completion_images0
native_tokens_reasoning1848
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
usage0.05819
router(null)
provider_responses
0
endpoint_id"c9badacd-c552-40a2-86e6-4b4e8dd4318f"
is_byokfalse
latency3627
model_permaslug"google/gemini-3-pro-preview-20251117"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771472970-TuC78RRzmUnzM3MKrlx7"
upstream_id(null)
total_cost0.05819
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags27
adverbTagCount0
adverbTags(empty)
dialogueSentences54
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
90.52% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1583
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"quickly"
count1
2
adverb"perfectly"
count1
highlights
0"slightly"
1"quickly"
2"perfectly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
39.99% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1583
totalAiIsms19
found
0
word"kaleidoscope"
count1
1
word"shimmered"
count1
2
word"pulsed"
count1
3
word"echoing"
count1
4
word"silence"
count2
5
word"reminder"
count1
6
word"perfect"
count2
7
word"oppressive"
count1
8
word"scanning"
count1
9
word"etched"
count1
10
word"pawn"
count1
11
word"echoed"
count1
12
word"footsteps"
count1
13
word"gloom"
count1
14
word"weight"
count2
15
word"intensity"
count1
highlights
0"kaleidoscope"
1"shimmered"
2"pulsed"
3"echoing"
4"silence"
5"reminder"
6"perfect"
7"oppressive"
8"scanning"
9"etched"
10"pawn"
11"echoed"
12"footsteps"
13"gloom"
14"weight"
15"intensity"
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
narrationSentences144
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences144
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences170
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen27
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans6
markdownWords22
totalWords1568
ratio0.014
matches
0"Here. Here. Here."
1"Eva Kowalski"
2"Scritch. Scritch. Drag."
3"Scritch. Scritch."
4"They left a guard dog,"
5"Which means they left something worth protecting."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
44.28% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions54
wordCount1277
uniqueNames8
maxNameDensity2.11
worstName"Harlow"
maxWindowNameDensity3.5
worstWindowName"Harlow"
discoveredNames
Harlow27
Quinn1
Miller18
London2
Victorian1
Morris3
North1
Holstered1
persons
0"Harlow"
1"Quinn"
2"Miller"
3"Morris"
places
0"London"
globalScore0.443
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount1
matches
0"sounded like dry leaves skittering over pa"
72.45% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.276
wordCount1568
matches
0"Not away from the exit, but way from the wall the compass had pointed to"
1"not her gun, but the torch, narrowing the beam to its highest intensity"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences170
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs79
mean19.85
std13.52
cv0.681
sampleLengths
013
152
241
353
433
534
643
712
88
97
1033
1114
123
1351
1413
1515
165
1723
1811
1935
2016
2130
2244
2316
2435
255
2624
2747
284
2914
3037
3131
328
3322
343
355
3623
377
387
3927
4014
413
4212
433
4416
455
463
471
483
4920
95.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences144
matches
0"was cropped"
1"was swept"
2"being watched"
3"was scratched"
23.79% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs227
matches
0"was nudging"
1"was crumbling"
2"was herding"
3"was guarding"
4"were hearing"
5"was staring"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount3
flaggedSentences9
totalSentences170
ratio0.053
matches
0"\"Sewers don't run uphill.\" Harlow crouched, her knees popping slightly—a reminder of forty-one years, half of them spent chasing shadows in London’s gutters."
1"This wasn't just some forgotten maintenance shaft; the architecture was Victorian, the tiling ornate despite the layers of filth."
2"The dust wasn't just disturbed; it was swept clean in perfect circles, arranged around makeshift stalls that were no longer there."
3"She felt it again—that prickle at the base of her neck."
4"It whipped around wildly, vibrating against the pin, before locking hard to the right—pointing directly at a solid brick wall."
5"A sound echoed from the tunnel deeper in—the direction the compass needle had ignored."
6"It didn't fall; it flowed, hitting the floor with the sound of a wet sack and rising instantly, spikes of solidified darkness erupting from its shoulders."
7"The beam hit the creature and it shrieked—a sound of tearing metal."
8"Harlow fired—not her gun, but the torch, narrowing the beam to its highest intensity."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount622
adjectiveStacks0
stackExamples(empty)
adverbCount19
adverbRatio0.03054662379421222
lyAdverbCount6
lyAdverbRatio0.00964630225080386
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences170
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences170
mean9.22
std6.08
cv0.659
sampleLengths
013
118
218
316
423
518
623
78
815
93
104
1116
1217
138
1416
1510
167
1719
183
1914
2012
212
226
233
244
2521
2612
279
285
293
3010
3111
328
3311
3410
351
3613
373
3812
395
4012
413
428
435
446
4518
468
479
4816
4917
56.27% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.4117647058823529
totalSentences170
uniqueOpeners70
27.55% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences121
matches
0"Gradually, her eyes adjusted, aided"
ratio0.008
77.85% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences121
matches
0"It shimmered with an oil-slick"
1"It smelled of ozone, burnt"
2"She pulled a glass vial"
3"Her salt-and-pepper hair was cropped"
4"She walked further into the"
5"It felt heavy."
6"she commanded, pointing her beam"
7"She felt it again—that prickle"
8"She checked the worn leather"
9"He was nudging a small"
10"She pushed past him"
11"It was a small, round"
12"It felt cold, colder than"
13"Her light caught on something"
14"She prized it out."
15"It whipped around wildly, vibrating"
16"She remembered the file on"
17"She didn't touch it."
18"She hovered her palm an"
19"She pocketed the compass"
ratio0.355
1.32% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount111
totalSentences121
matches
0"Detective Harlow Quinn shone her"
1"It shimmered with an oil-slick"
2"It smelled of ozone, burnt"
3"DC Miller sidestepped a pile"
4"Harlow crouched, her knees popping"
5"She pulled a glass vial"
6"The glass hissed."
7"Miller countered, playing the torch"
8"Harlow stood, smoothing the crease"
9"Her salt-and-pepper hair was cropped"
10"She walked further into the"
11"This wasn't just some forgotten"
12"It felt heavy."
13"The air pressure was wrong"
14"she commanded, pointing her beam"
15"The dust wasn't just disturbed;"
16"Miller muttered, realization struggling against"
17"Harlow moved to the center"
18"She felt it again—that prickle"
19"The sensation she hadn't felt"
ratio0.917
41.32% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences121
matches
0"Yet, the needle insisted."
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount3
matches
0"The dust wasn't just disturbed; it was swept clean in perfect circles, arranged around makeshift stalls that were no longer there."
1"Miller was already halfway up, panting, radioing for help that wouldn't understand what they were hearing."
2"Harlow Holstered the torch, grabbed the cold iron, and began to climb, the shrieks below morphing into a guttural, mocking laughter that sounded suspiciously li…"
69.44% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount3
matches
0"DC Miller sidestepped, his voice echoing too loudly in the subterranean silence"
1"Harlow turned, her boot crunching on something brittle"
2"Miller whispered, his breath shallow"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount9
fancyTags
0"Harlow snapped (snap)"
1"Miller muttered (mutter)"
2"Miller chuckled (chuckle)"
3"Harlow ordered (order)"
4"she whispered (whisper)"
5"Miller whispered (whisper)"
6"Harlow promised (promise)"
7"Harlow roared (roar)"
8"Miller shouted (shout)"
dialogueSentences54
tagDensity0.259
leniency0.519
rawRatio0.643
effectiveRatio0.333
74.6771%