Run: 2026-02-19-01KHT0HNC5KMAD6MTWYWRTDBX5

Run Details

Duration:
12.0s
Cost:
$0.006621
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 faint stench of iron and ozone hung heavy in the air, clinging to the damp earth like a shroud. A patrol officer, young and pale, pointed his torch at the newly dug hole, its edges disturbingly neat against the uneven floor of the old warehouse. "Here, Detective Quinn. Just as the caller described." Detective Harlow Quinn stepped over a coil of forgotten rope, her worn leather watch glinting under the harsh work lights. She moved with a military precision, her salt-and-pepper hair catching the grime that settled on everything. The warehouse, long abandoned to the elements and urban decay, offered little in the way of warmth or comfort. Broken skylights above cast weak, watery moonlight onto the scene, mingling with the yellow glow of the police floodlights. "Caller named it out, did they?" Quinn's sharp jaw tightened. "Or did they just describe a hole in the ground?" "Anonymous tip, ma'am. Sounded... breathless, like they'd been running." The officer shifted from foot to foot, avoiding her gaze. "Said there was a body unearthed here last night. Ritualistic, they said." Quinn knelt, ignoring the grit that immediately embedded itself in her trousers. The hole yawned at her, a dark void against the grey concrete. It wasn't deep, barely enough to cover a small animal, let alone a man. She ran a gloved hand over the disturbed earth. Too clean, too precise. She’d seen gravediggers with less finesse. "So, a ritualistic body. And where is this body, then?" Quinn scanned the immediate area, her brown eyes missing nothing. The dust, thick with years of neglect, remained undisturbed save for the footprints of the first responders and the anxious young officer. No drag marks, no sign of struggle, no discarded tools beyond the patrol's own equipment. A figure emerged from the deeper shadows of the warehouse, their silhouette momentarily blocking one of the floodlights. DI Davies, a man whose career had seen too many late nights and cold coffee, approached with a sigh. His heavy boots scuffed the concrete, stirring up more dust. "No body, Quinn. Just a hole. And a rather creative anonymous tipster." Davies gestured around them, the sweep of his hand encompassing the vast emptiness of the warehouse. "Some kids playing pranks, more than likely. Or a homeless chap trying to make a shelter." "A shelter with a freshly dug, empty grave?" Quinn stood, turning to face Davies head-on. "And a tipster who knew exactly where to find it? In a decommissioned warehouse on the fringes of Camden? That's a rather specific prank, isn't it, Davies?" Davies shrugged, already looking bored. "People hear things. See things. This part of town, you get all sorts. Runes on walls, strange symbols painted on shop fronts..." He trailed off, waving a dismissive hand. "Witchcraft nonsense. Nothing for us." Quinn ignored him, her gaze falling back to the hole. The earth within it looked different, a darker, richer brown than the surrounding dust. Almost like it had been transported from somewhere else. She bent down again, sniffing the air near the opening. The metallic tang of copper, faint but distinct, reached her. Not blood, not exactly, but something akin to it. And something else, an earthy, almost mineral scent that she couldn't place. "This isn't just dirt, Davies," she murmured, pulling a small evidence kit from her bag. She carefully collected a sample of the soil, placing it into a sterile bag. "And it isn't 'nothing'." "It's soil, Quinn. From the ground. What do you expect, gold dust?" Davies chuckled, a dry, grating sound. He walked over to a stack of collapsed crates, pulling out a crumpled packet of cigarettes. "Look, the lab boys will tell you it's garden variety loam. We'll file it as a hoax, and that'll be that. I've got a real murder to chase in Southwark, one with an actual body." "Garden variety loam doesn't smell like this." Quinn’s voice was low, but carried an edge that made the young patrol officer visibly flinch. She picked up a small, dark object from the lip of the hole. It was smooth, almost polished, and shaped roughly like a coin, but thicker, heavier. Bone. Her stomach tightened. "What's that?" Davies, midway through lighting his cigarette, paused, a flicker of something, perhaps curiosity, in his eyes. "A bone token," Quinn said, her voice flat. She had seen these before, whispered about in hushed tones by colleagues who dismissed such things as urban legend. But she knew better. Three years ago, she had learned better. "Bone token? What in blazes is a bone token?" Davies scoffed, shaking his head. "Next you'll be telling me we've got a goblin problem." "It's an entry pass, or so the whispers go," Quinn explained, holding the token up to the light. It wasn’t just a random piece of bone; it had a distinct shape, some kind of intricate carving etched into its smooth surface, too fine for human handiwork. "For places you shouldn't be." She looked up, her gaze sweeping around the cavernous space. The warehouse stretched endlessly into the gloom, a skeletal monument to forgotten industry. Dust motes danced in the slivers of moonlight, swirling around massive support pillars that rose like ancient trees. High above, rusting cranes hung suspended, their chains swaying slightly in an unseen breeze. This wasn't just a derelict building; it felt like a waiting room for something far older. "So, our prankster managed to dig a perfect grave, leave behind a magical item, and then disappeared without a trace, all to report a body that mysteriously vanishes before we arrive," Quinn continued, her voice laced with an implied accusation. "Or maybe... the body was never meant to be found in the first place." Davies snorted, puffing on his cigarette. "You're stretching, Quinn. Ghosts and ghouls. That's your problem, always looking for the otherworldly." "And your problem, Davies, is you stop looking when things don't fit into your neat little box." She walked away from the hole, letting her eyes drift over the vast concrete floor. Her boot scraped against something. She knelt again, revealing a faint impression in the dust, a circular mark, barely visible. Nearby, another. And another. A pattern, almost. "See anything interesting yet, Sherlock?" Davies drawled, leaning against a rusty support beam, his cigarette smoke curling upwards into the dimness. "More interesting than an empty hole," Quinn retorted, pressing her fingers against one of the faint circles. It wasn't a footprint, not exactly. More like the impression of something heavy, something with a slightly rough texture. She followed the trail, a subtle series of almost invisible marks, leading not towards the warehouse doors, but deeper into the shadows, towards a section of the wall where the brickwork seemed newer, less weathered than the rest. "These aren't natural," she concluded, examining the faint indentations. "Something was dragged through here. Something heavy. And not on the surface, but just above it. Hovering." Davies finally pushed himself off the beam, a frown creasing his forehead. "Hovering? Now you've really lost it. Hovering bodies? This isn't a sci-fi flick." "Something moved low to the ground, leaving these impressions," Quinn clarified, her voice sharp with irritation. She reached the section of newer brickwork. It looked to be a repair, clumsily done, mortar still flaky in places. But it was more than that. The air here felt colder, denser, a prickle on her skin. She pressed her palm against the brick. Cold. Unnaturally cold. A shiver ran down her spine, but it wasn't from the chill. It was the same sensation she'd experienced three years ago, just before she lost Morris. That sense of something fundamentally *wrong* with the fabric of reality. "The soil in the hole, the bone token, these marks," Quinn said, her voice quiet now, almost a whisper. "And this. This wall shouldn't be here. Not like this. Not with this temperature drop." She glanced at Davies, whose face was now a mixture of skepticism and a dawning, unwelcome understanding. "Someone tried to hide something. Not *in* the hole, but *with* the hole." She looked at the wall, then back at the small, precisely dug excavation. A diversion. A misleading signpost. They wanted the police to find the hole, to dismiss it, to look away from the true entry point. "It's a cover. A performance," Quinn said, the pieces clicking into place. Her gaze hardened, fixing on the newly repaired brickwork. "They didn't unearth a body. They *moved* something. Through here. And whatever it was, it wasn't meant to be discovered." Davies stared at the wall, then at Quinn, his earlier bravado replaced by a reluctant unease. "Moved something? What, exactly, could be moved through a solid brick wall in the middle of a derelict warehouse?" Quinn didn't answer right away. She extended a hand towards the cold, unyielding brick, her fingers brushing against the rough surface. She felt a faint vibration, a tiny hum that resonated deep within her bones. A faint, almost imperceptible shimmer caught her eye, just at the edges of the repair. Like heat haze, but cold. "It's not a wall, Davies," Quinn whispered, her eyes widening. "Not anymore, not truly. It's a door. And they just sealed it behind them."
created_at"2026-02-19T03:54:21.976Z" 2/19/2026, 3:54:21 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency501
moderation_latency(null)
generation_time11924
tokens_prompt4671
tokens_completion2376
native_tokens_prompt4537
native_tokens_completion2104
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"STOP"
usage0.0066211
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency501
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771473261-BLaEieDdOwllBJXYhq9b"
upstream_id(null)
total_cost0.0066211
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount1
adverbTags
0"Davies gestured around [around]"
dialogueSentences41
tagDensity0.537
leniency1
rawRatio0.045
effectiveRatio0.045
80.48% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1537
totalAiIsmAdverbs6
found
0
adverb"carefully"
count1
1
adverb"slightly"
count2
2
adverb"really"
count1
3
adverb"precisely"
count1
4
adverb"truly"
count1
highlights
0"carefully"
1"slightly"
2"really"
3"precisely"
4"truly"
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)
44.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1537
totalAiIsms17
found
0
word"glinting"
count1
1
word"warmth"
count1
2
word"scanned"
count1
3
word"grave"
count2
4
word"stomach"
count1
5
word"flicker"
count1
6
word"intricate"
count1
7
word"etched"
count1
8
word"gloom"
count1
9
word"perfect"
count1
10
word"otherworldly"
count1
11
word"down her spine"
count1
12
word"chill"
count1
13
word"sense of"
count1
14
word"whisper"
count1
15
word"resonated"
count1
highlights
0"glinting"
1"warmth"
2"scanned"
3"grave"
4"stomach"
5"flicker"
6"intricate"
7"etched"
8"gloom"
9"perfect"
10"otherworldly"
11"down her spine"
12"chill"
13"sense of"
14"whisper"
15"resonated"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"shiver down spine"
count1
1
label"hung in the air"
count1
highlights
0"A shiver ran down her spine"
1"hung heavy in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences94
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences94
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences112
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords4
totalWords1533
ratio0.003
matches
0"wrong"
1"in"
2"with"
3"moved"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
69.58% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1057
uniqueNames4
maxNameDensity1.61
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn17
Davies12
Morris1
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Morris"
places(empty)
globalScore0.696
windowScore0.833
16.67% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount4
matches
0"something akin to it"
1"patrol officer visibly flinch"
2"felt like a waiting room for something"
3"seemed newer less weathered than the rest"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords3.262
wordCount1533
matches
0"Not blood, not exactly, but something akin to it"
1"not exactly, but something akin to it"
2"not towards the warehouse doors, but deeper into the shadows, towards a section of the wall"
3"not on the surface, but just above it"
4"Not *in* the hole, but *with* the hole"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences112
matches(empty)
73.45% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs35
mean43.8
std17.83
cv0.407
sampleLengths
046
18
274
320
431
557
657
747
844
942
1039
1174
1233
1369
1454
1518
1638
1724
1851
1971
2054
2120
2259
2321
2474
2526
2625
2753
2848
2964
3037
3141
3235
3355
3424
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences94
matches
0"been transported"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs169
matches(empty)
91.84% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount2
flaggedSentences2
totalSentences112
ratio0.018
matches
0"It wasn’t just a random piece of bone; it had a distinct shape, some kind of intricate carving etched into its smooth surface, too fine for human handiwork."
1"This wasn't just a derelict building; it felt like a waiting room for something far older."
88.77% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1060
adjectiveStacks0
stackExamples(empty)
adverbCount56
adverbRatio0.052830188679245285
lyAdverbCount20
lyAdverbRatio0.018867924528301886
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences112
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences112
mean13.69
std7.79
cv0.569
sampleLengths
020
126
28
320
416
519
619
710
810
919
1012
1112
1212
1314
149
154
166
1720
1822
1915
2018
2119
2210
2328
2416
2515
2627
275
2829
295
3010
3114
329
3310
3410
359
3612
3715
3814
394
4018
4116
4235
4323
4413
4514
461
473
4818
498
73.21% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.45535714285714285
totalSentences112
uniqueOpeners51
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences88
matches
0"Too clean, too precise."
1"Almost like it had been"
2"More like the impression of"
ratio0.034
74.55% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences88
matches
0"She moved with a military"
1"It wasn't deep, barely enough"
2"She ran a gloved hand"
3"She’d seen gravediggers with less"
4"His heavy boots scuffed the"
5"He trailed off, waving a"
6"She bent down again, sniffing"
7"she murmured, pulling a small"
8"She carefully collected a sample"
9"He walked over to a"
10"She picked up a small,"
11"It was smooth, almost polished,"
12"Her stomach tightened."
13"She had seen these before,"
14"It wasn’t just a random"
15"She looked up, her gaze"
16"She walked away from the"
17"Her boot scraped against something."
18"She knelt again, revealing a"
19"It wasn't a footprint, not"
ratio0.364
33.86% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount75
totalSentences88
matches
0"The faint stench of iron"
1"A patrol officer, young and"
2"Detective Harlow Quinn stepped over"
3"She moved with a military"
4"The warehouse, long abandoned to"
5"Quinn's sharp jaw tightened"
6"The officer shifted from foot"
7"Quinn knelt, ignoring the grit"
8"The hole yawned at her,"
9"It wasn't deep, barely enough"
10"She ran a gloved hand"
11"She’d seen gravediggers with less"
12"Quinn scanned the immediate area,"
13"The dust, thick with years"
14"A figure emerged from the"
15"His heavy boots scuffed the"
16"Davies gestured around them, the"
17"Quinn stood, turning to face"
18"Davies shrugged, already looking bored."
19"He trailed off, waving a"
ratio0.852
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences88
matches(empty)
ratio0
95.24% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount3
matches
0"She moved with a military precision, her salt-and-pepper hair catching the grime that settled on everything."
1"She had seen these before, whispered about in hushed tones by colleagues who dismissed such things as urban legend."
2"She felt a faint vibration, a tiny hum that resonated deep within her bones."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount7
matches
0"Quinn scanned, her brown eyes missing nothing"
1"Quinn stood, turning to face Davies head-on"
2"Quinn said, her voice flat"
3"Quinn clarified, her voice sharp with irritation"
4"Quinn said, her voice quiet now, almost a whisper"
5"Quinn said, the pieces clicking into place"
6"Quinn whispered, her eyes widening"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount9
fancyTags
0"she murmured (murmur)"
1"Davies chuckled (chuckle)"
2"Quinn explained (explain)"
3"Quinn continued (continue)"
4"Davies drawled (drawl)"
5"Quinn retorted (retort)"
6"she concluded (conclude)"
7"Quinn clarified (clarify)"
8"Quinn whispered (whisper)"
dialogueSentences41
tagDensity0.293
leniency0.585
rawRatio0.75
effectiveRatio0.439
74.7452%