Run: 2026-02-19-01KHT08T64CXFQ692EENDMAT21

Run Details

Duration:
59.9s
Cost:
$0.002219
Provider:
SiliconFlow

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
The bone token felt cold against Harlow Quinn’s palm, a sliver of polished ivory that hummed with a frequency only her teeth seemed to notice. She dropped it into the rusted ticket slot of the disused service door. With a groan of protesting metal, it swung inward, revealing a descending staircase swallowed by gloom and the distinct, cold scent of buried earth. “Quinn. Took your time.” The voice echoed up from the darkness. DS Miller stood under a flickering emergency light at the base of the stairs, his silhouette blocking most of the view. His posture was rigid, a textbook picture of scene containment, but the slight tap of his foot against the grimy tile gave him away. Impatience. Or unease. “Traffic’s a nightmare, even for the dead,” Harlow said, her boots finding the steps with military precision. The stale air thickened as she descended, carrying traces of ozone, old incense, and something coppery. “What’ve we got?” “Burglary gone wrong, looks like.” Miller stepped aside, sweeping an arm towards the platform. “Victim’s a stallholder. Marcus Fleck. Dealer in… unusual antiquities.” The abandoned Camden Town tube station had been repurposed. Where commuters once waited, makeshift stalls constructed from old crates and moth-eaten velvet drapes now lined the curved walls. The place was a tomb of shadows, lit by flickering LED camping lamps and the odd guttering candle. The Veil Market, according to the whispers in certain restricted files. A place that technically didn’t exist, moving with the lunar cycle. Tonight, it was a crime scene. Marcus Fleck lay sprawled behind a collapsed trestle table, a pool of dark liquid haloing his head. His stall was a catastrophe of spilled curios: shattered clay tablets, scattered coins that glinted dully, feathers from unidentifiable birds. A glass case lay in shards, its velvet lining empty. Harlow crouched, her sharp jaw tightening. She didn’t touch, just looked. The wound was a single, precise strike to the temple. The weapon, likely the heavy brass candlestick lying a few feet away, was clean. Too clean. No blood spray on its intricate patterning. “Who found him?” “His neighbour.” Miller pointed to a hunched figure wrapped in a shawl two stalls down, being comforted by a uniformed officer. “Said she heard a crash, came to check, saw him down and called it in. No sign of the perp. Classic grab-and-dash.” “Classic,” Harlow repeated, her tone flat. Her eyes were already moving past the body, cataloguing. The spilled items fanned out from the table as if swept aside by a frantic search. But the pattern was wrong. It was too uniform, like a staged dispersal. Her gaze caught on a single item that had rolled under the stall’s draped cloth: a small brass compass, its casing patinated with verdigris. It lay perfectly upright, as if placed, not dropped. “What was he known for, this Fleck?” “Information broker, mostly. The physical stuff was a front. If you needed to find something… obscure, he was your man. For a price.” Harlow straightened, her leather watch strap creaking. She walked a slow perimeter, her focus narrowing. The floor was dusty, a mosaic of footprints. But near the body, the dust was smeared in a broad, clean arc. As if something had been dragged. Not a body—Fleck hadn’t moved. Something else. She followed the arc’s invisible line with her eyes. It terminated at a heavy, iron-banded trunk shoved against the curved tunnel wall. The trunk’s padlock hung open, its hasp bent. “For a grab-and-dash, they were surprisingly selective,” she said, more to herself than Miller. “Smashes a glass case, ignores the silver coins. Ransacks the table, leaves the jade figurine.” She nudged the figurine with the toe of her boot. It was valuable, obvious. “They were looking for something specific. And they knew where it was kept.” “The trunk,” Miller said, following her logic. “The trunk,” she agreed. She approached it. The interior was lined with faded purple silk, empty save for a lingering scent of sandalwood and static. The dimensions were odd; shallower than it should be. She ran her fingers along the inside, pressing at the joints. Nothing. But the dragging mark… She looked back at the compass. Then at the empty trunk. Then at the candlestick, devoid of prints or blood. “Your assessment is off, Miller.” “How do you figure?” “This wasn’t a burglary.” She turned to face him, her bearing straight. “It was a retrieval. And it wasn’t a stranger.” “The neighbour?” “Maybe. Or a client Fleck double-crossed.” She pointed to the candlestick. “No struggle. One blow, from behind or the side. He knew his killer. Let them get close.” She gestured to the compass. “That rolled. But not from the table. The trajectory’s wrong. It came from the trunk’s direction. It was in there. They took everything else *but* left that. Why?” Miller shrugged. “Missed it in the dark?” “It’s brass. It would catch the light. And look at it.” Harlow didn’t move to pick it up. “Sitting pretty. Not a scratch. This was a message. Or a signature.” A new voice cut through the damp air, softer, layered with academic curiosity. “Or a tracking device.” Harlow turned. Eva Kowalski stood at the edge of the pool of light, her freckled face pale, her curly red hair a muted flame in the gloom. She clutched her worn leather satchel to her chest like a shield. Harlow’s eyes narrowed. The museum researcher wasn't on the call sheet. “Miss Kowalski. This is a restricted scene.” “I… I was asked to consult. On the artefacts.” Eva’s gaze darted from the body to the compass, her green eyes behind her round glasses wide. She tucked a strand of hair behind her left ear, a nervous, quick motion. “Detective Miller thought some context might be… useful.” Harlow shot a look at Miller, who had the decency to appear sheepish. “The occult angle,” he muttered. “Given the venue.” “The *angle*,” Harlow said, her voice low, “is a man is dead. Context is how he lived and who wanted him to stop.” She focused back on Eva. “A tracking device?” Eva approached cautiously, giving the body a wide berth. She stared at the compass, her head tilting. “It’s a Veil Compass. Shade-made. The sigils aren’t just for show. It doesn’t point north.” She swallowed. “It points to the nearest active rift. A tear in… well, in everything. People use them to navigate the deeper parts of the Market, or to find hidden doors that shouldn’t be there.” Silence stretched, broken only by the distant drip of water. Miller shifted his weight. Harlow didn’t move. “So why leave it?” Harlow asked, the question hanging in the cold air. “Two reasons,” Eva said, her voice gaining a sliver of confidence. “One, it’s useless to anyone who doesn’t know how to read it. It’s not a map, it’s a needle. And without the correct… calibration, it just spins.” She took a half-step closer. “Or two, it’s been turned on. And it’s not pointing to a rift anymore. It’s pointing to something else. Something they wanted to tag.” Harlow’s mind raced, connecting disparate points. The staged ransacking. The missing item from the trunk—likely the compass’s intended target. The single, clinical blow. The killer hadn’t just retrieved property. They had planted a beacon and covered their tracks with the crude theatre of a robbery. “They took what they came for from the trunk,” Harlow stated, the deduction clicking into place. “Then they activated this and left it behind. Knowing someone like you,” she looked at Eva, “or a rival, would find it. It leads not to them, but to the thing they stole. A double-bluff. Or a trap.” Eva’s nod was almost imperceptible. Miller cleared his throat. “That’s a lot of maybes, Quinn. We’ve got a body, a weapon, and a witness who heard one crash. Occam’s razor.” “Occam’s razor is for simple worlds,” Harlow said, her eyes fixed on the innocuous brass disc on the floor. Her mind flashed to another scene, three years old: her partner Morris, a confused expression, and evidence that made no sense until it was too late. A different kind of razor. She pushed the memory down. “This isn’t a simple world. Not down here.” She finally moved, pulling a clean evidence bag from her coat. She didn’t reach for the compass directly. Instead, she used a pen to carefully slide it into the bag. The brass felt unnaturally cold through the plastic. The sigils seemed to shift under the LED light. “The witness,” Harlow said, her voice all business again. “I want her statement again. Focus on the crash. Was it glass? Wood? Metal? One sound or two?” She looked at Miller. “And I want the market’s entry logs for the past month. Every bone token issued. Fleck’s client list, if you can find it.” “You think the killer’s still on the list?” Miller asked. “I think the killer walked in here with permission,” Harlow said, sealing the bag. The compass inside seemed to quiver, its needle twitching from its fixed position to settle, decisively, pointing directly at the tunnel arch that led into the deeper, unlit stretches of the abandoned station. “And I don’t think they care about being found. They just want to see who comes looking.” She held up the bag, the verdigris-etched face glowing dully. The needle didn’t waver. It pointed past the crime scene tape, past the pooled blood, into the consuming blackness of the tunnel. “So,” Harlow said, her own reflection grim in the brass. “Let’s see.”
created_at"2026-02-19T03:49:31.991Z" 2/19/2026, 3:49:31 AM
model"deepseek/deepseek-v3.2-20251201"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3749
moderation_latency(null)
generation_time59766
tokens_prompt4671
tokens_completion2946
native_tokens_prompt4249
native_tokens_completion2553
native_tokens_completion_images(null)
native_tokens_reasoning315
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"
usage0.00221949
router(null)
provider_responses
0
endpoint_id"b39a588a-b338-43ba-b046-226b9e24afa8"
id"019c74046a022d0ebb9a5886dc227e25"
is_byokfalse
latency3748
model_permaslug"deepseek/deepseek-v3.2-20251201"
provider_name"SiliconFlow"
status200
api_type"completions"
id"gen-1771472972-6tLfmYGqnFn0XYltdwN5"
upstream_id"019c74046a022d0ebb9a5886dc227e25"
total_cost0.00221949
cache_discount(null)
upstream_inference_cost0
provider_name"SiliconFlow"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags27
adverbTagCount1
adverbTags
0"Miller stepped aside [aside]"
dialogueSentences54
tagDensity0.5
leniency1
rawRatio0.037
effectiveRatio0.037
90.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1602
totalAiIsmAdverbs3
found
0
adverb"perfectly"
count1
1
adverb"cautiously"
count1
2
adverb"carefully"
count1
highlights
0"perfectly"
1"cautiously"
2"carefully"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Marcus"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
50.06% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1602
totalAiIsms16
found
0
word"gloom"
count2
1
word"echoed"
count1
2
word"constructed"
count1
3
word"velvet"
count2
4
word"shattered"
count1
5
word"intricate"
count1
6
word"mosaic"
count1
7
word"silk"
count1
8
word"navigate"
count1
9
word"silence"
count1
10
word"weight"
count1
11
word"raced"
count1
12
word"beacon"
count1
13
word"etched"
count1
highlights
0"gloom"
1"echoed"
2"constructed"
3"velvet"
4"shattered"
5"intricate"
6"mosaic"
7"silk"
8"navigate"
9"silence"
10"weight"
11"raced"
12"beacon"
13"etched"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences111
matches(empty)
91.38% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences111
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords2
totalWords1589
ratio0.001
matches
0"but"
1"angle"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1043
uniqueNames12
maxNameDensity1.73
worstName"Harlow"
maxWindowNameDensity4
worstWindowName"Harlow"
discoveredNames
Harlow18
Quinn1
Miller11
Camden1
Town1
Veil1
Market1
Fleck2
Kowalski1
Eva7
Silence1
Morris1
persons
0"Harlow"
1"Quinn"
2"Miller"
3"Market"
4"Fleck"
5"Kowalski"
6"Eva"
7"Silence"
8"Morris"
places
0"Camden"
1"Town"
globalScore0.637
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.629
wordCount1589
matches
0"not to them, but to the thing they stole"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences138
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs46
mean34.54
std23.46
cv0.679
sampleLengths
062
14
255
336
423
574
647
744
83
943
1077
117
1223
1379
1456
157
1650
1720
185
194
2021
212
2261
237
2430
2517
2650
277
2848
2921
3031
3167
3217
3313
3467
3545
3654
375
3825
3963
4047
4154
4210
4364
4432
4512
89.46% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences111
matches
0"been repurposed"
1"being comforted"
2"was smeared"
3"been dragged"
4"was lined"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs185
matches(empty)
80.75% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount1
flaggedSentences3
totalSentences138
ratio0.022
matches
0"Not a body—Fleck hadn’t moved."
1"The dimensions were odd; shallower than it should be."
2"The missing item from the trunk—likely the compass’s intended target."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1049
adjectiveStacks1
stackExamples
0"heavy, iron-banded trunk"
adverbCount32
adverbRatio0.030505243088655862
lyAdverbCount16
lyAdverbRatio0.015252621544327931
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean11.51
std7.9
cv0.686
sampleLengths
025
113
224
34
47
521
624
71
82
917
1016
113
1214
139
149
1519
1618
1711
1811
196
2017
2120
2210
236
245
2510
2614
272
287
293
3021
3122
326
339
3416
355
368
3724
389
397
4023
417
428
438
4413
456
465
472
489
4913
58.21% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.4057971014492754
totalSentences138
uniqueOpeners56
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences100
matches
0"Then at the empty trunk."
1"Then at the candlestick, devoid"
2"Instead, she used a pen"
ratio0.03
88.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences100
matches
0"She dropped it into the"
1"His posture was rigid, a"
2"His stall was a catastrophe"
3"She didn’t touch, just looked."
4"Her eyes were already moving"
5"It was too uniform, like"
6"Her gaze caught on a"
7"It lay perfectly upright, as"
8"She walked a slow perimeter,"
9"She followed the arc’s invisible"
10"It terminated at a heavy,"
11"she said, more to herself"
12"She nudged the figurine with"
13"It was valuable, obvious."
14"She approached it."
15"She ran her fingers along"
16"She looked back at the"
17"She turned to face him,"
18"She pointed to the candlestick"
19"She gestured to the compass"
ratio0.33
15.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount89
totalSentences100
matches
0"The bone token felt cold"
1"She dropped it into the"
2"The voice echoed up from"
3"DS Miller stood under a"
4"His posture was rigid, a"
5"Harlow said, her boots finding"
6"The stale air thickened as"
7"Miller stepped aside, sweeping an"
8"The abandoned Camden Town tube"
9"The place was a tomb"
10"The Veil Market, according to"
11"A place that technically didn’t"
12"Tonight, it was a crime"
13"Marcus Fleck lay sprawled behind"
14"His stall was a catastrophe"
15"A glass case lay in"
16"Harlow crouched, her sharp jaw"
17"She didn’t touch, just looked."
18"The wound was a single,"
19"The weapon, likely the heavy"
ratio0.89
50.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences100
matches
0"As if something had been"
ratio0.01
40.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences35
technicalSentenceCount5
matches
0"The bone token felt cold against Harlow Quinn’s palm, a sliver of polished ivory that hummed with a frequency only her teeth seemed to notice."
1"His stall was a catastrophe of spilled curios: shattered clay tablets, scattered coins that glinted dully, feathers from unidentifiable birds."
2"Her gaze caught on a single item that had rolled under the stall’s draped cloth: a small brass compass, its casing patinated with verdigris."
3"Her mind flashed to another scene, three years old: her partner Morris, a confused expression, and evidence that made no sense until it was too late."
4"The compass inside seemed to quiver, its needle twitching from its fixed position to settle, decisively, pointing directly at the tunnel arch that led into the …"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount11
matches
0"Harlow said, her boots finding the steps with military precision"
1"Harlow repeated, her tone flat"
2"she said, more to herself than Miller"
3"She turned, her bearing straight"
4"Eva’s gaze darted, her green eyes behind her round glasses wide"
5"Harlow said, her voice low,"
6"Harlow asked, the question hanging in the cold air"
7"Eva said, her voice gaining a sliver of confidence"
8"Harlow stated, the deduction clicking into place"
9"Harlow said, her voice all business again"
10"Harlow said, her own reflection grim in the brass"
75.93% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount4
fancyTags
0"Harlow repeated (repeat)"
1"she agreed (agree)"
2"he muttered (mutter)"
3"Harlow stated (state)"
dialogueSentences54
tagDensity0.278
leniency0.556
rawRatio0.267
effectiveRatio0.148
81.2523%