Run: 2026-02-19-01KHT0CTVJSTZTFTWSGFKE2WSK

Run Details

Model:
GPT-4.1
Duration:
37.5s
Cost:
$0.023532
Provider:
OpenAI

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
“Stop right there. The blood’s too neat.” Detective Harlow Quinn’s voice sliced through the stale air of the abandoned Tube platform. Boots planted on the mosaic tile, she surveyed the cordon where two constables bickered about paperwork, the body motionless at the far end, shoes poking over the yellow safety line. She moved, not rushed, each step measured, her shadow stretching along the slick wall. The police tape bowed where someone had clipped it to a cracked pillar. Wrong angle, wrong distance. As if whoever sealed off the scene had doubted the perimeter. Quinn noted it. PC Linton raised one brow. “Uniforms pushed up from below. We’ve done three sweeps. Bloody rats everywhere. Found nothing else out of place.” His radio chirped. He ignored it. Quinn ignored him right back, eyes locking on the corpse—male, late twenties, threadbare blazer over a misbuttoned shirt, tie torn halfway off and wound tight around his left fist. No blood on it, though. The pool around him, a round, dark lake, had no splatter, no drag marks. She knelt by the body, fingers brushing the sticky tile without touching the still hand. “Have you ever seen a tube suicide without a scrape on the palms?” she asked. Linton gave a leery grin, shook his head. “Guy jumped. Landed heavy enough. Head wound did for him. Rail shoes are slick. Not much else to say.” Quinn turned the wrist, careful not to disturb the scene. Dark grain beneath the thumbnail—black, too shiny to be filth, too patterned to be accidental. She kept that to herself. Her gaze lifted. No sign of luggage, no wallet on display, no phone nestled under his jacket. Someone had worked fast or knew exactly what to take. Above, the frozen clocks on the platform had their faces slashed through with white paint: someone had tried to erase time itself. “You check if this platform links to anything?” Quinn’s tone offered no room for comfort. “Just storage rooms, locked. We called for the keys. Old office up near the stairs. Never used, except by station staff needing a nap. CCTV’s fried, by the way—flood took last month’s feed.” The words came too quickly. She caught it, logged the slip. He believed it—wanted her to believe it. She rose. “Linton. Why’d you set boundaries all the way to the service tunnel?” The constable half-smiled, half-frowned. “We thought, with squatters—might be traffic through the old supply lines. Traces of food wrappers, some torn blankets down there.” She rounded on him, eyes sharp. “You’re not in Evidence Recovery—don’t improvise at a scene. You find those traces before or after you saw him?” “Before. Routine inspection. Saw the blankets, figured—well. Could be relevant, you know?” Quinn moved past him, snapped blue gloves from her pocket, careful not to touch her watch. Her voice lowered. “Your partner—Briggs—he keep to the same story?” Linton bristled, chin jutting. “Ask him yourself. He’s back at the steps.” She let him stew. She knelt again, this time inspecting the toe-caps of the dead man’s shoes. Dust clung to the edges, but something off lingered: a line around the sole, faint but visible, as if the shoe had pressed into powder. She stood, scanning the wall behind the corpse. Hieroglyphs scratched light lines in the dust, shapes that triggered a deeper unease—unfamiliar, urgent, angular. The sigils echoed none of the crude graffiti elsewhere. “Linton. Call down one of the Museum consultants. I want a check on these marks.” He sucked his teeth. “A Museum girl? That’s a first.” “First time for everything,” she snapped. Someone shouted above. Briggs. His boots clattered down the steps, breathless, crouched at the edge of the cordon. He thrust a notebook out. “Witness,” he panted. “Old vendor, off the main drag. Heard voices half six—arguing, a woman with him. Saw a green scarf, that’s all he could say.” Quinn took the notebook, flicked through jagged notes. A woman. Irritated, she turned, peering into the gloom behind the platform. A low arch yawned, trailing darkness. She motioned to the body. “Search his pockets for scarf fibres. Use a fresh envelope.” Briggs went pale. “Shouldn’t we, er—wait for forensics?” “You want to go home tonight or not?” She didn’t raise her voice. She scanned the dark arch. Her eyes caught on a glimmer—metal by the tracks, half buried in bits of broken glass. She knelt, pried it loose between rubber-gloved fingers. Small, brass, patina-laced—a compass, but not for directions. Symbols—sigils—gouged the face. The needle quivered, wobbled, then pointed not towards north, but toward the sealed concrete wall at the end of the platform. Too forceful to be random. She tucked it into an evidence bag. “Look at this, Linton. Ever seen a railway nav use a trinket like this?” He shuffled, defensive. “Could be theatre. These lot get theatrical after dark.” Quinn watched him, reading the muscles in his jaw, the half-coiled tension in his neck. He wanted to leave. Too much noise for comfort. She pocketed the compass, bag crackling. White noise filled the space—station ventilation, far-off drip of water, but underneath, a soughing motif, as if something hummed behind the wall. Her eyes narrowed. “You checked that room, you said?” “Locked,” he insisted. “We radioed for keys. Two minutes, tops.” Quinn didn’t like his eyes. She squared her shoulders and motioned him aside. “I want to see it now. Briggs, with me.” The brittle bulb in the archway flickered as Quinn led them down the tunnel, boots echoing. The heavy steel door loomed, streaked with coal dust, handle smeared. One gloved thumbprint blotched the metal. Fresh. She leaned close. “Linton. You open this door before or after you made your sweep?” He faltered. “Didn’t touch it. Gloves, see?” Quinn pressed her own gloved thumb over the print. Match. Not Linton’s size. She drew herself up. “Call Control. Tell them I want the full team. Now.” A heavy cough from the other side rang out, deep and deliberate, like someone clearing their throat in another language. Linton stared at the door, mouth slack. “Briggs, we—” Briggs had already stepped back, hand drifting towards his baton. Quinn put her mouth near the door, voice low. “Metropolitan Police. Identify yourself.” Silence, then, from the other side—a scrape, deliberate. The rattle of a chain. Pipes rang beyond the threshold, as if someone dragged metal across stone. Quinn signalled for the others to hold back. Her own heart pounded, a fast, clipped rhythm. She turned to Linton. “You said this was clean. You lied.” His mouth worked. “We—I—protocol said clear the arch before forensics arrive—no one’s inside—” A thin shaft of light split the gap beneath the door. Someone whispered, words too muffled to decipher. Quinn edged closer, straining. Her hand hovered over her torch. Her shadow slid up the wall, swallowed by the growing glow from beneath the door. Suddenly, the chain pulled taut. Something heavy banged against the metal with a bone-rattle, three times—rhythmic, like a signal, like the railway’s dead knocking back in reply. “Briggs, get backup,” she commanded. The last knock reverberated. The door creaked on its hinges, the chain whining. The smell of burning—oil, maybe hair—seeped through, thick enough for everyone to catch it. Linton’s badge glinted, beads of sweat gathering. Briggs was already on the steps, feet scrambling for the signal. Harlow Quinn stepped into the light, boots braced, every muscle wound tight as the chain quivered. The door bulged, fingers curling through the crack, nails streaked with old blood. “On three,” Quinn ordered, fingers on the holster, eyes on the trembling edge. The door groaned. The air behind her thickened. Then the chain gave way. The door jerked open, hinges howling like an air raid siren. A woman stumbled through, scarf swinging wild, blood spattered up her sleeve, eyes wide, teeth bared—and something shadow-black threaded through her fingers, smoke or fog or— Briggs screamed, “There’s another one—” before the lights snapped out, the world plunging into black, the rattle of metal echoing off every tile.
created_at"2026-02-19T03:51:43.753Z" 2/19/2026, 3:51:43 AM
model"openai/gpt-4.1-2025-04-14"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency583
moderation_latency(null)
generation_time37420
tokens_prompt4671
tokens_completion2209
native_tokens_prompt4158
native_tokens_completion1902
native_tokens_completion_images0
native_tokens_reasoning0
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"completed"
usage0.023532
router(null)
provider_responses
0
endpoint_id"c235abe8-11cc-42d3-95ad-72f4d198287a"
id"resp_0f7897b393fce1ce01699688cfdd308190a1d872e2278c42a2"
is_byokfalse
latency147
model_permaslug"openai/gpt-4.1-2025-04-14"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473103-WpgmCe2DigzY7gNo8oWa"
upstream_id"resp_0f7897b393fce1ce01699688cfdd308190a1d872e2278c42a2"
total_cost0.023532
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags10
adverbTagCount0
adverbTags(empty)
dialogueSentences36
tagDensity0.278
leniency0.556
rawRatio0
effectiveRatio0
92.66% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1363
totalAiIsmAdverbs2
found
0
adverb"quickly"
count1
1
adverb"suddenly"
count1
highlights
0"quickly"
1"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
37.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1363
totalAiIsms17
found
0
word"mosaic"
count1
1
word"measured"
count1
2
word"scanning"
count1
3
word"echoed"
count1
4
word"flicked"
count1
5
word"gloom"
count1
6
word"scanned"
count1
7
word"quivered"
count2
8
word"tension"
count1
9
word"flickered"
count1
10
word"echoing"
count2
11
word"loomed"
count1
12
word"silence"
count1
13
word"rhythmic"
count1
14
word"reverberated"
count1
highlights
0"mosaic"
1"measured"
2"scanning"
3"echoed"
4"flicked"
5"gloom"
6"scanned"
7"quivered"
8"tension"
9"flickered"
10"echoing"
11"loomed"
12"silence"
13"rhythmic"
14"reverberated"
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
narrationSentences114
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences114
filterMatches
0"watch"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences140
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
totalWords1331
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount979
uniqueNames5
maxNameDensity1.63
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Harlow2
Quinn16
Tube1
Linton7
Briggs5
persons
0"Harlow"
1"Quinn"
2"Linton"
3"Briggs"
places(empty)
globalScore0.683
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences64
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.751
wordCount1331
matches
0"not towards north, but toward the sealed concrete wall at the end of the platform"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences140
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs58
mean22.95
std17.83
cv0.777
sampleLengths
07
189
229
363
415
527
679
715
833
920
1012
1124
1225
1312
1419
157
1612
1742
1832
1915
2010
216
2223
2326
2426
2515
268
2713
2873
2914
3012
3130
3225
336
3410
3522
3634
3715
387
3913
4014
4120
429
4310
4413
4545
467
4713
4843
4927
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences114
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs188
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount14
semicolonCount0
flaggedSentences11
totalSentences140
ratio0.079
matches
0"Quinn ignored him right back, eyes locking on the corpse—male, late twenties, threadbare blazer over a misbuttoned shirt, tie torn halfway off and wound tight around his left fist."
1"Dark grain beneath the thumbnail—black, too shiny to be filth, too patterned to be accidental."
2"He believed it—wanted her to believe it."
3"Hieroglyphs scratched light lines in the dust, shapes that triggered a deeper unease—unfamiliar, urgent, angular."
4"Her eyes caught on a glimmer—metal by the tracks, half buried in bits of broken glass."
5"Symbols—sigils—gouged the face."
6"White noise filled the space—station ventilation, far-off drip of water, but underneath, a soughing motif, as if something hummed behind the wall."
7"Silence, then, from the other side—a scrape, deliberate."
8"Something heavy banged against the metal with a bone-rattle, three times—rhythmic, like a signal, like the railway’s dead knocking back in reply."
9"The smell of burning—oil, maybe hair—seeped through, thick enough for everyone to catch it."
10"A woman stumbled through, scarf swinging wild, blood spattered up her sleeve, eyes wide, teeth bared—and something shadow-black threaded through her fingers, smoke or fog or—"
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1002
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.023952095808383235
lyAdverbCount4
lyAdverbRatio0.003992015968063872
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences140
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences140
mean9.51
std6.52
cv0.686
sampleLengths
07
114
230
314
413
54
611
73
85
921
103
1129
125
1314
1415
1515
168
1719
1810
1915
205
213
2214
2310
2422
2515
2633
275
286
297
302
3112
324
3320
346
3519
3612
3716
383
397
404
418
424
4313
4425
458
4615
479
4815
494
64.05% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.4142857142857143
totalSentences140
uniqueOpeners58
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences103
matches
0"Too forceful to be random."
1"Too much noise for comfort."
2"Suddenly, the chain pulled taut."
3"Then the chain gave way."
ratio0.039
87.96% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences103
matches
0"She moved, not rushed, each"
1"His radio chirped"
2"He ignored it."
3"She knelt by the body,"
4"She kept that to herself."
5"Her gaze lifted."
6"She caught it, logged the"
7"He believed it—wanted her to"
8"She rounded on him, eyes"
9"Her voice lowered."
10"She let him stew."
11"She knelt again, this time"
12"She stood, scanning the wall"
13"He sucked his teeth."
14"His boots clattered down the"
15"He thrust a notebook out."
16"She motioned to the body."
17"She didn’t raise her voice"
18"She scanned the dark arch."
19"Her eyes caught on a"
ratio0.33
37.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount87
totalSentences103
matches
0"Detective Harlow Quinn’s voice sliced"
1"Boots planted on the mosaic"
2"She moved, not rushed, each"
3"The police tape bowed where"
4"Quinn noted it."
5"PC Linton raised one brow."
6"His radio chirped"
7"He ignored it."
8"Quinn ignored him right back,"
9"The pool around him, a"
10"She knelt by the body,"
11"Linton gave a leery grin,"
12"Quinn turned the wrist, careful"
13"She kept that to herself."
14"Her gaze lifted."
15"Someone had worked fast or"
16"Quinn’s tone offered no room"
17"The words came too quickly."
18"She caught it, logged the"
19"He believed it—wanted her to"
ratio0.845
48.54% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences103
matches
0"As if whoever sealed off"
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount2
matches
0"Hieroglyphs scratched light lines in the dust, shapes that triggered a deeper unease—unfamiliar, urgent, angular."
1"White noise filled the space—station ventilation, far-off drip of water, but underneath, a soughing motif, as if something hummed behind the wall."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount6
fancyTags
0"His radio chirped (chirp)"
1"she snapped (snap)"
2"he panted (pant)"
3"he insisted (insist)"
4"Quinn ordered (order)"
5"Briggs screamed (scream)"
dialogueSentences36
tagDensity0.194
leniency0.389
rawRatio0.857
effectiveRatio0.333
84.5063%