Run: 2026-02-19-01KHT0R7C0WQEXZVQCSC1JBV91

Run Details

Duration:
52.2s
Cost:
$0.004518
Provider:
Ambient

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 scent of ozone and burnt sugar hung in the air, a cloying combination that made the back of Detective Harlow Quinn’s throat itch. She stepped over a shattered jar of what looked like crystallised honey, the fragments crunching under her steel-capped boots. The abandoned Tube station was a cathedral of decay, its curved walls weeping mineral-stained tears and the tracks below lost to a sea of stagnant, black water. Here, in this subterranean world, the only light came from the forensic lamps, casting long, dancing shadows that made the space feel alive. "Evening, Harlow." Detective Sergeant Davies gestured with a gloved hand towards the centre of the platform. "Got a live one for you. Or, well, a very dead one." Quinn followed his gaze. A man lay sprawled on his back, his arms thrown wide in a grotesque parody of embrace. He was dressed in a tailored tweed jacket, expensive-looking leather shoes, and no socks. His eyes were wide open, staring at the vaulted brick ceiling with an expression of profound, undiluted surprise. There was no blood, no obvious wound, no sign of a struggle. He simply looked like he had lain down for a nap and forgotten to wake up. "John Doe, for now," Davies continued, his voice echoing slightly in the cavernous space. "No wallet, no phone. Looks like a robbery gone wrong, except they didn't take the watch." He pointed with his pen. The man's left wrist bore a handsome, modern smartwatch, its screen dark. Quinn knelt, her worn leather watch strap creaking in protest. She ignored the body for a moment, her sharp eyes scanning the immediate vicinity. The air was thick with the smell of burnt sugar, but beneath it, something else. A faint, metallic tang, like old coins. She leaned closer to the victim's face. His lips were tinged with a faint blue, but not the cyanotic blue of suffocation. It was lighter, almost ethereal. "Robbery?" Quinn’s voice was a low rasp. "They take his cash and cards, but leave a two-grand watch on his wrist? They take his shoes but not his jacket?" Davies shrugged. "Maybe they were interrupted. Kids, looking for a quick score. They panic, grab what they can, and bolt." "They took his shoes, Davies. And his socks. Who stops to strip a man's feet in a panic?" "A weirdo, then. We get all sorts down here." Quinn’s gaze drifted from the body to the ground around it. The dust on the platform was disturbed, but not in the chaotic way she’d expect from a struggle. It was more… deliberate. A series of shallow troughs, as if someone had dragged a heavy bag in a wide circle around the victim. She reached out, her fingers hovering just above the fine grey powder. No scuff marks. No footprints inside the circle. Just the smooth, swept-clean space and the man lying at its centre. "Anything from forensics?" "Pathologist's on his way. Preliminary says no obvious cause of death. No toxins on the breath, no puncture marks. It's a head-scratcher." Davies nudged a small, dark object with his pen. It rolled a few inches. "Found this next to his hand." Quinn picked it up with a pair of tweezers. It was a small brass compass, no larger than a sovereign. The casing was covered in a greenish patina, and the face was etched with intricate, unfamiliar sigils that seemed to shift in the lamplight. The needle, however, was not pointing north. It was spinning, slowly but relentlessly, as if searching for something it could never find. "Odd little trinket," Davies said. "Probably from some tourist trap. Camden's full of this occult nonsense." Quinn didn't answer. She held the compass up, watching the needle spin. A strange hum, barely audible, seemed to emanate from it, a vibration that travelled up the tweezers and into her bones. It felt… wrong. Like holding a fragment of a nightmare. She remembered Morris, her partner, talking about things like this in the months before he died. Whispers and symbols, objects that defied logic. She had dismissed it as stress, the case getting to him. Now, the memory was a cold stone in her gut. She stood and walked the perimeter of the platform, her boots leaving clear prints in the undisturbed dust. The station was a time capsule. Faded posters for long-defunct products flapped gently in the draft. A rusted bicycle, its tyres rotted away, lay chained to a railing. And then she saw it. Tucked behind a support pillar, half-hidden in the shadows, was a small, leather satchel. It was worn and scuffed, the kind of thing a student or a researcher would carry. "Davies. Bag." He joined her, peering at the satchel. "Well, look at that. Our robbers missed it." "Or they weren't interested in it." Quinn crouched again, carefully opening the flap. Inside were several books, their spines cracked with use. She recognised the titles from Morris's frantic notes: *A Compendium of Pre-Roman Deities*, *Liminal Spaces and Their Inhabitants*, and a slim, leather-bound volume with no title on the spine. There was also a half-eaten packet of wine gums, a set of round glasses in a soft case, and a small, carved bone token. The token was smooth and cool to the touch, shaped like a crescent moon. It felt ancient. "Looks like our John Doe was a bit of an enthusiast," Davies said, peering over her shoulder. "One of those historical re-enactor types, maybe?" Quinn picked up the untitled book. The pages were filled with cramped, handwritten script and diagrams that made her eyes ache. They were maps, but not of any London she recognised. Streets twisted into impossible knots, buildings overlapped, and in the centre of each page was a symbol identical to the ones etched onto the compass. She flipped to a page that had been heavily annotated. The drawing depicted a series of underground tunnels, all converging on a single point marked with the symbol. Below it, in the same spidery handwriting, was a single, chilling word: *Market*. Her heart hammered against her ribs. This wasn't a random murder. This wasn't a robbery. This was something else entirely. Something that connected to the world Morris had been trying to drag her into before he was found at the bottom of the Thames, his lungs full of river water and his face frozen in a rictus of terror. "He wasn't killed here," Quinn said, her voice suddenly sharp. It cut through the stillness of the station. Davies frowned. "What makes you say that? There's no sign he was moved." "No blood. No struggle. But look at his hands." She pointed her torch at the victim's palms. They were clean. Immaculately clean. "But under his fingernails..." She leaned in closer. "It's not dust. It's brick dust. Red brick. This station is built from yellow London stock brick." Davies stared, his brow furrowed in confusion. "So he was somewhere else first. So what?" "So this," Quinn held up the bone token, "is a key. And those books," she gestured to the satchel, "are a map. Someone brought him here, to this specific place, for a reason. They didn't want his money, Davies. They wanted whatever he was carrying." As if on cue, the small brass compass in her evidence bag began to spin faster, the faint hum growing louder, more insistent. The forensic lamps flickered. A cold wind, impossible in the sealed station, whipped past them, extinguishing two of the lights and plunging half the platform into darkness. From the black water of the tracks below came a sound, a soft, rhythmic lapping, as if something immense was stirring in its depths. Davies drew his sidearm, his eyes wide. "What the hell was that?" Quinn didn't answer. She was staring at the victim's hand, lying palm-up in the gloom. Clutched between his stiff fingers, almost invisible in the poor light, was a single, curly red hair.
created_at"2026-02-19T03:57:57.012Z" 2/19/2026, 3:57:57 AM
model"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1608
moderation_latency(null)
generation_time52142
tokens_prompt4671
tokens_completion1978
native_tokens_prompt4227
native_tokens_completion1777
native_tokens_completion_images(null)
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"
usage0.00451812
router(null)
provider_responses
0
endpoint_id"4b6fe88c-7cc4-4c60-9f84-e8b831343567"
id"chatcmpl-9LaHQ1syLmSPU8x1FEMG2LFa4uVe2kDdoshFYWLUbVSZ"
is_byokfalse
latency1608
model_permaslug"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
provider_name"Ambient"
status200
api_type"completions"
id"gen-1771473477-HCYRMBpTBmjElHXHaLw3"
upstream_id"chatcmpl-9LaHQ1syLmSPU8x1FEMG2LFa4uVe2kDdoshFYWLUbVSZ"
total_cost0.00451812
cache_discount(null)
upstream_inference_cost0
provider_name"Ambient"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount1
adverbTags
0"Quinn crouched again [again]"
dialogueSentences27
tagDensity0.407
leniency0.815
rawRatio0.091
effectiveRatio0.074
77.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1334
totalAiIsmAdverbs6
found
0
adverb"very"
count1
1
adverb"slightly"
count1
2
adverb"slowly"
count1
3
adverb"gently"
count1
4
adverb"carefully"
count1
5
adverb"suddenly"
count1
highlights
0"very"
1"slightly"
2"slowly"
3"gently"
4"carefully"
5"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)
40.03% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1334
totalAiIsms16
found
0
word"shattered"
count1
1
word"dancing"
count1
2
word"profound"
count1
3
word"echoing"
count1
4
word"scanning"
count1
5
word"tinged"
count1
6
word"chaotic"
count1
7
word"etched"
count2
8
word"intricate"
count1
9
word"chilling"
count1
10
word"furrowed"
count1
11
word"flickered"
count1
12
word"rhythmic"
count1
13
word"depths"
count1
14
word"gloom"
count1
highlights
0"shattered"
1"dancing"
2"profound"
3"echoing"
4"scanning"
5"tinged"
6"chaotic"
7"etched"
8"intricate"
9"chilling"
10"furrowed"
11"flickered"
12"rhythmic"
13"depths"
14"gloom"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"air was thick with"
count1
1
label"hung in the air"
count1
highlights
0"The air was thick with"
1"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences94
matches
0"d in confusion"
66.87% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount3
narrationSentences94
filterMatches
0"feel"
1"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)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords11
totalWords1323
ratio0.008
matches
0"A Compendium of Pre-Roman Deities"
1"Liminal Spaces and Their Inhabitants"
2"Market"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
92.86% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions34
wordCount1050
uniqueNames12
maxNameDensity1.14
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Detective2
Harlow1
Quinn12
Tube1
Sergeant1
Davies9
Morris3
Compendium1
Pre-Roman1
Spaces1
London1
Thames1
persons
0"Harlow"
1"Quinn"
2"Sergeant"
3"Davies"
4"Morris"
places
0"London"
1"Thames"
globalScore0.929
windowScore1
7.14% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount4
matches
0"looked like crystallised honey, the fragm"
1"looked like he had lain down for a nap an"
2"sigils that seemed to shift in the lamplight"
3"as if searching for something it could never find"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1323
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences109
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs31
mean42.68
std29.87
cv0.7
sampleLengths
093
128
281
347
473
529
620
718
89
985
103
1142
1266
1316
1487
1581
162
1715
1875
1917
2024
2197
2259
2318
2413
2547
2615
2745
2874
2912
3032
82.87% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences94
matches
0"was dressed"
1"were tinged"
2"was covered"
3"was etched"
4"was worn"
5"were filled"
6"was found"
81.66% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs169
matches
0"was not pointing"
1"was spinning"
2"was staring"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences109
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1060
adjectiveStacks2
stackExamples
0"slim, leather-bound volume"
1"single, curly red hair."
adverbCount28
adverbRatio0.026415094339622643
lyAdverbCount13
lyAdverbRatio0.012264150943396227
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean12.14
std8.04
cv0.663
sampleLengths
024
119
227
323
416
512
64
717
814
918
1012
1116
1214
1321
1412
1510
1614
1715
187
197
2015
215
227
2322
242
2518
2618
279
2811
2918
303
311
3220
3312
343
355
3612
373
3831
395
406
419
4211
4324
447
4515
465
4711
483
499
68.81% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.44036697247706424
totalSentences109
uniqueOpeners48
38.31% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences87
matches
0"Just the smooth, swept-clean space"
ratio0.011
82.07% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences87
matches
0"She stepped over a shattered"
1"He was dressed in a"
2"His eyes were wide open,"
3"He simply looked like he"
4"He pointed with his pen"
5"She ignored the body for"
6"She leaned closer to the"
7"His lips were tinged with"
8"It was lighter, almost ethereal."
9"It was more…"
10"She reached out, her fingers"
11"It rolled a few inches."
12"It was a small brass"
13"It was spinning, slowly but"
14"She held the compass up,"
15"She remembered Morris, her partner,"
16"She had dismissed it as"
17"She stood and walked the"
18"It was worn and scuffed,"
19"He joined her, peering at"
ratio0.345
51.95% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount71
totalSentences87
matches
0"The scent of ozone and"
1"She stepped over a shattered"
2"The abandoned Tube station was"
3"Here, in this subterranean world,"
4"Detective Sergeant Davies gestured with"
5"Quinn followed his gaze."
6"A man lay sprawled on"
7"He was dressed in a"
8"His eyes were wide open,"
9"He simply looked like he"
10"Davies continued, his voice echoing"
11"He pointed with his pen"
12"The man's left wrist bore"
13"Quinn knelt, her worn leather"
14"She ignored the body for"
15"The air was thick with"
16"A faint, metallic tang, like"
17"She leaned closer to the"
18"His lips were tinged with"
19"It was lighter, almost ethereal."
ratio0.816
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences87
matches
0"Now, the memory was a"
1"As if on cue, the"
ratio0.023
3.11% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount9
matches
0"The scent of ozone and burnt sugar hung in the air, a cloying combination that made the back of Detective Harlow Quinn’s throat itch."
1"Here, in this subterranean world, the only light came from the forensic lamps, casting long, dancing shadows that made the space feel alive."
2"The casing was covered in a greenish patina, and the face was etched with intricate, unfamiliar sigils that seemed to shift in the lamplight."
3"It was spinning, slowly but relentlessly, as if searching for something it could never find."
4"A strange hum, barely audible, seemed to emanate from it, a vibration that travelled up the tweezers and into her bones."
5"Something that connected to the world Morris had been trying to drag her into before he was found at the bottom of the Thames, his lungs full of river water and…"
6"As if on cue, the small brass compass in her evidence bag began to spin faster, the faint hum growing louder, more insistent."
7"From the black water of the tracks below came a sound, a soft, rhythmic lapping, as if something immense was stirring in its depths."
8"She was staring at the victim's hand, lying palm-up in the gloom."
34.09% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount2
matches
0"Davies continued, his voice echoing slightly in the cavernous space"
1"Quinn said, her voice suddenly sharp"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount1
fancyTags
0"Davies continued (continue)"
dialogueSentences27
tagDensity0.148
leniency0.296
rawRatio0.25
effectiveRatio0.074
79.3981%