Run: 2026-02-19-01KHT09ZJRRZGVCGHANVQAAR59

Run Details

Duration:
22.8s
Cost:
$0.007804
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
The yellow tape fluttered against the rusted iron gates of the Primrose Hill deep-level shelter, snapping like a whip in the tunnel's draft. Detective Harlow Quinn didn't wait for the uniformed officer to lift the line; she ducked under it with a fluid, practiced motion that didn't disturb a single hair of her salt-and-pepper crop. "Don't tell me it's another jumper, Miller," Quinn said, her voice echoing off the damp ceramic tiles of the forgotten spiral staircase. "Worse, Ma'am," Sergeant Miller replied, his boots clomping heavily two steps behind. "CCTV caught some kids breaking the padlock. They didn't even make it to the main chamber before they went sprinting back out. One of them puked on a PCSO's shoes." They descended into the belly of the Camden underworld, leaving the hum of North London far above. The air grew thick, tasting of iron and ancient, stagnant humidity. This part of the Tube had been closed since the fifties, a graveyard of soot and failed civil engineering. Quinn's nostrils flared. The scent hit her before the sight did—not just the copper tang of blood, but something cloying and sweet, like rotting lilies. "Forensics is still ten minutes out," Miller said, flicking his torch beam over a wall of vintage posters peeling like sunburnt skin. "But the first responders found him. It's a mess. Looks like a mugging gone wrong, maybe some gang initiation. They took the eyes, Quinn. Clean out." Quinn stopped at the threshold of the lower maintenance corridor. A single work light hummed on a tripod, casting long, jagged shadows across the scene. "Muggings happen in alleys, Miller. Not behind three sets of bolted steel doors in a decommissioned bunker." She stepped into the light. The victim sat propped against a humped green electrical transformer. He was young, dressed in a bespoke Italian wool coat that cost more than Miller’s car, but the fabric was shredded. Not by a knife. The edges of the tears were crinkled, darkened, as if the cloth had been flashed with intense heat. Quinn knelt, her joints silent. She didn't look at the gory cavities where the eyes had been. Instead, her gaze fixed on the man's hands. They were locked in a rigid, claw-like grip around nothing. "Found a wallet?" "Empty," Miller said, gesturing to a leather square tossed three metres away. "Watch is gone too. Classic robbery. Probable struggle, he catches a blade, they finish him off and harvest whatever they can sell." "Look at his feet, Miller." The Sergeant leaned over, his torch beam shaking slightly. The victim’s shoes were missing, but his silk socks were pristine. No scuff marks. No dirt from the trek down the staircase. "They carried him?" Miller suggested. "Through three hundred yards of narrow tunnels? Without dragging a heel?" Quinn reached out, her fingers hovering an inch above the man’s chest. "There’s no blood on the floor." Miller frowned, scanning the concrete. "Internal bleeding? Maybe they killed him elsewhere and dumped him." "There’s no blood on the floor because there’s no blood in the body, Miller." Quinn stood up, her sharp jaw set. "Look at the skin. It’s parchment. He hasn’t just been killed; he’s been harvested. Completely." She turned away from the corpse, her brown eyes scanning the ceiling. The heavy Victorian brickwork was stained with the soot of a century, but directly above the body, there was a patch of absolute, shimmering cleanliness. A perfect circle of white brick, as if it had been scrubbed with bleach. "He didn't walk in. He didn't get carried in." Quinn’s voice dropped to a low, dangerous register. "He was placed. Like a centerpiece." "You're overcomplicating it, Harlow. It's Camden. We get weirdos." Quinn ignored him, her hand drifting to the worn leather strap of the watch on her left wrist. It wasn't ticking. It hadn't ticked for three years, not since the night DS Morris vanished into a London fog that smelled exactly like these rotting lilies. She moved toward the shadows at the edge of the corridor, where the light of the tripod failed. Her boot hit something metallic. A small, heavy object skittered across the grit. "Don't touch that!" Miller barked. "Evidence." Quinn ignored him, pulling a pair of latex gloves from her pocket with a snap. She picked up the item. It was a brass compass, the casing thick with a crust of verdigris. It felt uncomfortably warm through the latex. "A compass?" Miller scoffed, stepping closer. "Likely belonged to the victim. Wealthy kid, probably into vintage trinkets." "Look at the face." Quinn held it up. There were no cardinal directions. No North, South, East, or West. Instead, the face was etched with jagged, interlocking sigils that seemed to vibrate if you looked at them too long. The needle wasn't pointing toward the magnetic pole. It was spinning, a frantic, silver blur that hummed with a low-frequency vibration. "Broken," Miller muttered. "No," Quinn whispered. "It's tracking." She followed the needle’s pull, moving deeper into the dark. The maintenance corridor ended in a dead end—a wall of corrugated iron blocking off a disused ventilation shaft. The hum from the compass grew louder, a thrumming that she felt in her teeth. "Quinn, wait for the team. We don't have backup." "Stay there, Miller. Watch the body." She pressed her gloved hand against the corrugated iron. It wasn't cold. It felt like living skin. She pushed, expecting the resistance of rusted metal, but the sheet vibrated and slid aside with a sound like a silk dress tearing. Behind it lay not a ventilation shaft, but a staircase that didn't appear on any municipal map. The stones were black, slick with a moisture that smelled of salt and burnt sugar. At the bottom of the stairs, a faint, flickering violet light pulsed in rhythm with the compass in her hand. "Harlow? What is it?" Miller’s voice sounded miles away, muffled by a sudden, heavy pressure in the air. Quinn looked down at the compass. The needle had stopped spinning. It pointed straight down into the violet glow. "A market," she murmured, the words tasting like copper. She remembered the confidential files she’d skimmed in the wake of Morris’s disappearance—the whispers of "The Veil Market," a nomadic bazaar of the damned that moved with the lunar cycle. The full moon was tonight. She took the first step down. The air shifted. The sound of the police radio behind her vanished, replaced by a distant, cacophonous roar of a hundred voices haggling in languages that hadn't been spoken on the surface for millennia. The smell of the lilies became overwhelming. "Detective?" The voice didn't come from Miller. It was feminine, soft, and carried a distinct Polish lilt. Quinn spun around, her hand flying to her holster. A woman stood in the shadows of the staircase, halfway between the light of the crime scene and the darkness of the pit. She was short, wearing a heavy tweed coat and a worn leather satchel that looked fit to burst with yellowing scrolls. Her curly red hair was a frantic halo around her head, and her green eyes wide behind round glasses. "You shouldn't be here," the woman said, tucking a stray curl behind her left ear. "The bone tokens were accounted for. You don't have one." "Police," Quinn snapped, though the badge felt light and useless in this place. "Who are you?" "Eva," the woman said, her voice trembling but her gaze fixed on the compass in Quinn’s hand. "And that belongs to a Shade artisan. If they find you with it, they won't just take your eyes, Detective." "The man upstairs. Was that your doing?" Eva Kowalski shook her head, her freckled face pale in the violet gloom. "He tried to trade a counterfeit soul. The Market doesn't appreciate fraud. They... liquidated his assets." "Liquidated his blood, you mean." "In a manner of speaking." Eva took a step closer, her hand reaching toward the satchel. "Please. Give me the compass and go. Before the guards realize the perimeter has been breached. They don't recognize the King's peace down here." Quinn felt the weight of the brass tool. It was the first solid lead she’d had in three years. A physical bridge to the world that had swallowed her partner. "I'm not going anywhere," Quinn said, her voice like grinding stone. "Not until I see what's at the bottom of these stairs." "You don't understand," Eva whispered, her eyes darting toward the violet light below. "You're looking for a man who isn't a man anymore. If you go down there, you won't find Morris. You'll just find more things to lose." Quinn froze. "How do you know that name?" The violet light flared. A sound like a massive, rusted gate swinging open groaned through the earth. From the depths, a cold wind surged up, carrying the scent of old parchment and fresh slaughter. Eva’s face tightened. She didn't answer. instead, she looked past Quinn, her expression twisting into one of pure terror. "The Merchant," Eva breathed. Quinn turned. A figure stood at the base of the stairs. It was ten feet tall, draped in tatters of black silk that billowed even though the wind had died. It had no face, only a vertical slit of pulsing white light where a mouth should be. In its elongated, many-jointed fingers, it held a silver tray. On the tray sat two human eyes, still wet, blinking in the violet dark. "Fresh stock," the thing hissed, the sound vibrating inside Quinn’s skull. "But we require... a contemporary soul for the entry fee." The Merchant began to climb, its movements jerky and unnatural, like a film skipping frames. Quinn drew her Glock, the metal cold and reassuring, but as she aimed, the brass compass in her other hand began to glow white-hot. The sigils on the face liquified, dripping onto her glove like molten gold. "Run, Detective!" Eva screamed, but she wasn't running. She was pulling a jagged piece of obsidian from her satchel. The creature reached the middle of the stairs in a single, blurred leap. It didn't strike. It simply opened the slit in its face, and the sound that emerged wasn't a voice. It was the sound of a thousand people screaming Quinn’s name at once. The light from the crime scene behind them flickered and died. Total darkness swallowed them, save for the predatory violet glow and the burning brass in Quinn's hand. The Merchant reached out a spindly, grey hand, its clawed finger pointing directly at the leather watch on Quinn’s wrist. "That," the thing rasped. "That is the collateral we seek."
created_at"2026-02-19T03:50:12.451Z" 2/19/2026, 3:50:12 AM
model"google/gemini-3-flash-preview-20251217"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1069
moderation_latency(null)
generation_time20544
tokens_prompt4671
tokens_completion2738
native_tokens_prompt4537
native_tokens_completion2455
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4065
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"
usage0.00780425
router(null)
provider_responses
0
endpoint_id"6e82f652-2693-4b60-bbe0-7362d6e345f0"
is_byokfalse
latency1069
model_permaslug"google/gemini-3-flash-preview-20251217"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771473012-AYYzTzXHBnPbpvQeb6IB"
upstream_id(null)
total_cost0.00780425
cache_discount0.00182925
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
totalTags25
adverbTagCount0
adverbTags(empty)
dialogueSentences55
tagDensity0.455
leniency0.909
rawRatio0
effectiveRatio0
94.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1779
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"completely"
count1
highlights
0"slightly"
1"completely"
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)
49.41% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1779
totalAiIsms18
found
0
word"fluttered"
count1
1
word"echoing"
count1
2
word"silk"
count3
3
word"pristine"
count1
4
word"scanning"
count2
5
word"perfect"
count1
6
word"etched"
count1
7
word"magnetic"
count1
8
word"vibrated"
count1
9
word"pulsed"
count1
10
word"lilt"
count1
11
word"gloom"
count1
12
word"weight"
count1
13
word"depths"
count1
14
word"flickered"
count1
highlights
0"fluttered"
1"echoing"
2"silk"
3"pristine"
4"scanning"
5"perfect"
6"etched"
7"magnetic"
8"vibrated"
9"pulsed"
10"lilt"
11"gloom"
12"weight"
13"depths"
14"flickered"
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
narrationSentences119
matches(empty)
94.84% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences119
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences149
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1770
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions66
wordCount1349
uniqueNames21
maxNameDensity1.93
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Primrose1
Hill1
Harlow1
Quinn26
Sergeant2
Miller11
Camden1
North2
London2
Tube1
Italian1
Victorian1
Morris2
South1
East1
West1
Polish1
Eva6
Kowalski1
Merchant2
Glock1
persons
0"Harlow"
1"Quinn"
2"Sergeant"
3"Miller"
4"Tube"
5"Morris"
6"Eva"
7"Kowalski"
8"Merchant"
places
0"Primrose"
1"Hill"
2"North"
3"London"
globalScore0.536
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences90
glossingSentenceCount1
matches
0"sigils that seemed to vibrate if you looked at them too long"
87.01% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.13
wordCount1770
matches
0"not just the copper tang of blood, but something cloying"
1"not a ventilation shaft, but a staircase"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences149
matches
0"thrumming that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs66
mean26.82
std17.82
cv0.665
sampleLengths
055
122
242
372
448
525
617
758
835
93
1034
115
1231
135
1429
1515
1636
1751
1823
199
2045
2131
226
2340
2417
254
2656
273
285
2943
309
316
3240
3352
3418
3519
369
3735
3847
391
4016
4172
4225
4316
4437
457
4629
475
4840
4930
84.62% Passive voice overuse
Target: ≤2% passive sentences
passiveCount7
totalSentences119
matches
0"been closed"
1"was shredded"
2"were crinkled"
3"been flashed"
4"were locked"
5"been scrubbed"
6"was etched"
7"been spoken"
19.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs221
matches
0"were missing"
1"wasn't ticking"
2"wasn't pointing"
3"was spinning"
4"wasn't running"
5"was pulling"
46.98% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount2
flaggedSentences5
totalSentences149
ratio0.034
matches
0"Detective Harlow Quinn didn't wait for the uniformed officer to lift the line; she ducked under it with a fluid, practiced motion that didn't disturb a single hair of her salt-and-pepper crop."
1"The scent hit her before the sight did—not just the copper tang of blood, but something cloying and sweet, like rotting lilies."
2"\"Look at the skin. It’s parchment. He hasn’t just been killed; he’s been harvested. Completely.\""
3"The maintenance corridor ended in a dead end—a wall of corrugated iron blocking off a disused ventilation shaft."
4"She remembered the confidential files she’d skimmed in the wake of Morris’s disappearance—the whispers of \"The Veil Market,\" a nomadic bazaar of the damned that moved with the lunar cycle."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1358
adjectiveStacks1
stackExamples
0"wide behind round glasses."
adverbCount27
adverbRatio0.019882179675994108
lyAdverbCount11
lyAdverbRatio0.008100147275405008
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences149
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences149
mean11.88
std7.16
cv0.602
sampleLengths
023
132
222
312
430
517
611
719
83
922
1022
1126
1210
1315
1417
155
1610
1721
184
1918
205
2112
228
2310
243
2512
2622
275
289
2911
303
318
325
3323
346
355
3610
3721
3815
3912
4025
4114
4217
436
449
4518
463
4724
4818
495
46.53% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.33557046979865773
totalSentences149
uniqueOpeners50
89.29% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences112
matches
0"Instead, her gaze fixed on"
1"Instead, the face was etched"
2"instead, she looked past Quinn,"
ratio0.027
98.57% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences112
matches
0"They descended into the belly"
1"She stepped into the light."
2"He was young, dressed in"
3"She didn't look at the"
4"They were locked in a"
5"She turned away from the"
6"It wasn't ticking."
7"It hadn't ticked for three"
8"She moved toward the shadows"
9"Her boot hit something metallic."
10"She picked up the item."
11"It was a brass compass,"
12"It felt uncomfortably warm through"
13"It was spinning, a frantic,"
14"She followed the needle’s pull,"
15"She pressed her gloved hand"
16"It wasn't cold."
17"It felt like living skin."
18"She pushed, expecting the resistance"
19"It pointed straight down into"
ratio0.304
18.04% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount99
totalSentences112
matches
0"The yellow tape fluttered against"
1"Detective Harlow Quinn didn't wait"
2"Quinn said, her voice echoing"
3"Sergeant Miller replied, his boots"
4"They descended into the belly"
5"The air grew thick, tasting"
6"This part of the Tube"
7"Quinn's nostrils flared."
8"The scent hit her before"
9"Miller said, flicking his torch"
10"Quinn stopped at the threshold"
11"A single work light hummed"
12"She stepped into the light."
13"The victim sat propped against"
14"He was young, dressed in"
15"The edges of the tears"
16"Quinn knelt, her joints silent."
17"She didn't look at the"
18"They were locked in a"
19"Miller said, gesturing to a"
ratio0.884
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences112
matches(empty)
ratio0
79.08% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount5
matches
0"Detective Harlow Quinn didn't wait for the uniformed officer to lift the line; she ducked under it with a fluid, practiced motion that didn't disturb a single h…"
1"It was spinning, a frantic, silver blur that hummed with a low-frequency vibration."
2"Behind it lay not a ventilation shaft, but a staircase that didn't appear on any municipal map."
3"The sound of the police radio behind her vanished, replaced by a distant, cacophonous roar of a hundred voices haggling in languages that hadn't been spoken on …"
4"She was short, wearing a heavy tweed coat and a worn leather satchel that looked fit to burst with yellowing scrolls."
5.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount6
matches
0"Sergeant Miller replied, his boots clomping heavily two steps behind"
1"Quinn reached out, her fingers hovering an inch above the man’s chest"
2"Quinn snapped, though the badge felt light and useless in this place"
3"Eva took, her hand reaching toward the satchel"
4"Eva whispered, her eyes darting toward the violet light below"
5"the thing hissed, the sound vibrating inside Quinn’s skull"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags17
fancyCount10
fancyTags
0"Miller suggested (suggest)"
1"Miller barked (bark)"
2"Miller muttered (mutter)"
3"Quinn whispered (whisper)"
4"she murmured (murmur)"
5"Quinn snapped (snap)"
6"Eva whispered (whisper)"
7"Eva breathed (breathe)"
8"the thing hissed (hiss)"
9"Eva screamed (scream)"
dialogueSentences55
tagDensity0.309
leniency0.618
rawRatio0.588
effectiveRatio0.364
75.2249%