Run: 2026-02-19-01KHT0X914TZ7Z2CR345JQ7JN1

Run Details

Duration:
36.5s
Cost:
$0.001812
Provider:
NextBit

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
Detective Harlow Quinn stared at the dwarf. Muerto. He'd seen his fill of corpses, but this one was different. Sweaty, hairy, wearing a sheriff's star badge. "Ain't noChainbreaker. I'm confounded." Whispering murderers isn't usually a thing. But I'm the only one here. With a dwarf." Tucking the note in his pocket, he scanned the room. "This won't be on the list. But it will be on the record. Because it stinks like something dragged in from a fever dream." "Oi! What's the plan,-seven hundred and twelve?" Lollipop crunched under his boot, smeared on the wall. He wiped sticky sugar residue on his trousers. Seven hundred twelve? He glanced around. No identifiers. Just a seed bag collapsed in the corner. "Guessing games. My favorite." Rifle in hand, he hunched down to peer through the scope. "Right..." He fiddled with the focus, lens wavy, cramped. A pattern shifted out of the blur. Numbers punched through paper. A formula of sorts. Thousands maximizing hundreds. "I never was good at math." " I'm not arguing. I'm not a linguist. Not one for all that talk." He shrugged, a kitchen knife clattering to the floor. Picking it up, he tossed it in the direction of the dwarf. "Ain't a linguist... who came to kill a linguist." File was thicker than normal. Not standard fare. An afterthought almost. Usually they just... "And follows nobody but orders." A grin cracked, revealing a gold tooth, mustache twitching. A man of few words. But a man who knew his place. Detective Quinn held up the phone, a sliver bar window showing him at a less-than-flattering angle. Beady eyes stared out of an eternity of time, past distance... "Had a feeling this would turn odd. Just not this odd." Money. Always money. And murder, he supposed. "Okay, we've got a dead dwarf." "Aye." "A live human. Who says he's not involved." He grunted, leather of his boots squeaking. "So we've a chain of events that doesn't check out." "Bored boys masquerading as linguistic experts." "An odd bedfellows murder." The phone rang again, shrilling, bouncing off the floor. "So what's the password?" "A pantomime. Three acts." Ryo let out a breath he'd been holding, phone buzzing again. Unfamiliar number. "And a note attached marching orders. ... You got it. A servant of destiny. And now..." He paused, letting the image of the dwarf die and fade, almost. "I'm late. So many thoughts, so few words, and I'm out of time." "Don't be daft. We're just starting our act two." "Well played." "Here you go." The file dropped on the table, a sudden rain, pages splattering out. "Dry fertilizer. But this formula isn't in any of the other files." DS Morris turned over the paper bag, it's ghostly contents and dust setting. "So we have a man murdered. We know he was applying for linguist positions." "In Academical workflows." "Yes, thank you..." "And?" "And he was using double-quadle عين, 날아 Hermes informational signatures on his machine." "Mmm-hmm." A bluff. A grand plan. "Go on." "Your story organizer. Something relevant." "Something for his wall." "Yes." Above the table was a puzzle. A map, glowing, jumping out of a net. "Cities linked." "Linked." Yes. "Interested. And somewhere here is our man in the next approved file." "And somehow connected to him dying in the process." "So what's the plan, seven hundred and twelve?" Harlow turned to the dwarf, cogs turning, trying to break the code of this cryptic web in his mind. "We keep digging." His watch read 12:00, but there was still plenty of time to kill, albeit gingerly. "He's been busy." "But we won't be long." A knock rapped at the door. "Finally." He looked at the door. "About time." burgundy red eyes glowed like sparks. "So... what's your role, seven hundred and twelve?" Because this isn't the story you think it is. "I'm serving a purpose. A blueprint. An actor in a play. And I'm about to walk off stage." His mustache twitched. "I'm... Director." He laughed. "Of The Cycle Of A Steel Rose." "And it's magic. Right?" "You tell me." "I'm no expert. But this? Bloody. Obsess. Seduces." And pulls you in. The detective laughed, leaning back. "Only way out is forward. Dinner." He stood, striding for the door, ready to enter the rabbit hole. In the mirror qi.ll.rcy, a solution. Or Is it? "Huh?" .ery.xicent Times." "Cheque." "Let's say five." "Five." He smiled as AC/DC played softly underneath, determined to be three steps behind. "I'm that dwarf. Maybe. At least for now." "Good." He paused, hands clasped behind his back. "Good to see you again, Det. Quinn." "Good to be back." Harlow nodded to DetectiveFC Cole, bag in hand. "So... what have you got for me?" The detective flicked through his notebook, stepping closer to the crime scene. "So what have you got for me?" Harlow grimaced, scanning the scene, an uneasy feeling creeping into his gut. Something wasn't right. The dwarf's body sat off centre, an odd array of terror and confusion etched on his face, the gash on his chest gaping. "Handwritten notebooks. Hundreds of pages. Ancient Sumerian texts." original crone text. "Ritualistic killing, textbook definition. Cut-heart removal. Very precise." "And?" He picked up a book, pages of symbols and diagrams. "Phoz. Ouredniqn. Miki memi dem wolves." He flipped it over, 512 pages, Tattered pages, Stained pages. "Busy ones." He pulled out a piece of paper, a diagram drawn out. "odd pattern." The word above in a foreign language. "Not the usual suspects." The head of a wolf, body that of a chicken, and a hypno symbol. "Or some dead language symbol." Snake and pig and an eagle clawing through dirt under it. "Or something relevant to our case?" "So?" The vials gleamed in the light, jars of amber fluid with distinctive labels. "Also a headless dwarf dies inside a locked room." He turned to -, walking towards him. "And the dwarf's look." He pointed to the body, a strange smile on his face, eyes glazed over. "What's your theory, Detective Quinn?" He leaned in close, voice low. "Truth is... I don't know if this dwarf is even real." He paused, scanning the room again. "Or if this is all some sick game." The dwarf was dead. That much was clear. But something about the scene seemed off. A locked room. Ritualistic murder. Mystical objects. It was like a bad dream. Detective Quinn fiddled with his watch, glancing at his partner, Detective Cole. "I don't know, Detective." Detective Cole replied, leaning over the body. "I found this unlocked, next to the body." He held up a brass compass, tiny sigils etched into the casing. "Better not be a vorpal blade." The dwarf's candy stick still bobbing. "You're a literal thinker." Sighing, Detective Cole looked around the room. "I'm not finding anything. Maybe we're missing something." "I'm not finding anything." he grumbled. "Nothing's adding up. But that's the society in a box. Grams of snow and a flying claw." "This place gives me the heebie jeebies." A crackling hum, like static, buzzing through his speakers. "But you found them, right? That's the stakes?" "Physically obéy?" "But I can't do those today." He jotted down a few notes in his notebook, circling the word 'clockwork.' "So? I'm no linguist. What's it mean?" "Gnash afterwards witnessing the marks." He paused, stepping closer to the body. "This isn't adding up." "Another one right behind me, ready to take your place." He grumbled, picking up a page of notes. "Let's hope so." "Let's go over the arrangements, Detective Quinn." He gave a sharp nod as Detective Cole held up a jar of viscous fluid, a ring of shimmering light hovering above it. "It's not that simple." The dwarf's head tilted upward, mouth stretched into a grotesque grin. "The arrangements." He sighed, shoulders slumping. "I'm not sure we should be making any. This is bigger than us now." "We have to get to the bottom of this first." "That's the story... right?" Detective Quinn stepped closer, glaring at the detective. "I haven't misinformed anyone. I'm guessing you haven't found anything unusual." "No," Cole replied apprehensively. "Just a whole lot of nothing. No murder weapon. No apparent entry or exit." "The dwarf is dead." He sighed, looking around the room. "Something's not right here. It's like a bad dream." "It is a bad dream. Or you're on one." Detective Cole looked over at Detective Quinn. "I don't know, Detective. This is strange even for us." He nodded, flipping through his notebook. "I know. It's not like anything we've seen before." The dwarf's eyes flicked open, a manic grin splitting his face, the word written in blood above him: R-ethyl That's it. The truth." He pointed to a small jar of fluid, sitting on a shelf. "This room's been prescripted." "Another one right behind me, ready to take your place." Detective Quinn read out loud from his notes, thick paper glowing under the light of a single candle. "I don't know. None of it makes sense." Detective Cole grumbled, looking over the body. "It doesn't have to. All it needs is to sell a lie well enough." He looked up at Detective Quinn. "I'm coming. I'll be there." - "The arrangement is settled." The dwarf sat up, looking around the room. "Someone's pulling some heavy strings... as a villian." xored 128 bits together. it's some kind of password." Cole stared at Harlow, then at the dwarf. "What on Earth does that even mean?" Harlow grumbled, looking over his notes. "Meaning. The only connection between the murders." He looked up at Cole. "He was tracking them. He knew they were connected." "Me, I like clear." He walked over to the locked door, staring at the dial. A bunch of different lock combinations, each one linking to a different victim. "None of which is their date of death." He turned to the dwarf. 'Who are you and what is going on here?'".
created_at"2026-02-19T04:00:42.553Z" 2/19/2026, 4:00:42 AM
model"thedrummer/rocinante-12b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1116
moderation_latency(null)
generation_time36356
tokens_prompt4693
tokens_completion2463
native_tokens_prompt4353
native_tokens_completion2492
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"
usage0.00181157
router(null)
provider_responses
0
endpoint_id"94c3af54-1ed5-400c-affb-570e2935d725"
id"cmpl-352ec81818df4ca3a2e91d896d4083c4"
is_byokfalse
latency1101
model_permaslug"thedrummer/rocinante-12b"
provider_name"NextBit"
status200
api_type"completions"
id"gen-1771473642-MJ0ej0XrPQR6cGJkmIMp"
upstream_id"cmpl-352ec81818df4ca3a2e91d896d4083c4"
total_cost0.00181157
cache_discount(null)
upstream_inference_cost0
provider_name"NextBit"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags48
adverbTagCount4
adverbTags
0"it stinks like [like]"
1"The phone rang again [again]"
2"The dwarf's head tilted upward [upward]"
3"Cole replied apprehensively [apprehensively]"
dialogueSentences78
tagDensity0.615
leniency1
rawRatio0.083
effectiveRatio0.083
93.96% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1657
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"very"
count1
highlights
0"softly"
1"very"
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)
72.84% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1657
totalAiIsms9
found
0
word"scanned"
count1
1
word"standard"
count1
2
word"determined"
count1
3
word"flicked"
count2
4
word"scanning"
count2
5
word"etched"
count2
highlights
0"scanned"
1"standard"
2"determined"
3"flicked"
4"scanning"
5"etched"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences96
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences96
filterMatches
0"know"
1"watch"
hedgeMatches(empty)
0.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences104
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount1
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen94
ratio0.01
matches
0"We know he was applying for linguist positions.\" \"In Academical workflows.\" \"Yes, thank you...\" \"And?\" \"And he was using double-quadle عين, 날아 Hermes informational signatures on h…"
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1655
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount819
uniqueNames15
maxNameDensity1.22
worstName"Detective"
maxWindowNameDensity4
worstWindowName"Detective"
discoveredNames
Harlow5
Quinn5
Seven1
Detective10
Three1
Academical1
Hermes1
Cycle1
Steel1
DetectiveFC1
Cole9
Tattered1
Stained1
Snake1
Sighing1
persons
0"Harlow"
1"Quinn"
2"Detective"
3"Academical"
4"DetectiveFC"
5"Cole"
places(empty)
globalScore0.889
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1655
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences104
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs15
mean110.33
std296.9
cv2.691
sampleLengths
026
153
224
316
415
527
664
726
827
918
1032
1119
1249
1339
141220
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences96
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs149
matches
0"was applying was using"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences104
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount660
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.03636363636363636
lyAdverbCount6
lyAdverbRatio0.00909090909090909
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences104
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences104
mean15.9
std12.72
cv0.8
sampleLengths
07
11
211
37
410
56
619
77
811
91
1023
1116
122
1313
1427
1510
164
1730
1820
1926
2027
217
2211
2310
2422
2519
266
2721
283
294
3014
312
3214
3323
342
3529
3639
3726
3894
3920
402
415
4211
4313
447
452
461
471
4815
4943
83.97% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.5384615384615384
totalSentences104
uniqueOpeners56
77.52% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences86
matches
0"Just not this"
1"So many thoughts, so few"
ratio0.023
89.77% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences86
matches
0"He'd seen his fill of"
1"He fiddled with the focus,"
2"I'm not arguing"
3"I'm not a linguist."
4"You got it."
5"We're just starting our act"
6"We know he was applying"
7"He smiled as AC/DC played"
8"He paused, hands clasped behind"
9"He picked up a book,"
10"He flipped it over, 512"
11"He pulled out a piece"
12"He turned to -, walking"
13"He pointed to the body,"
14"He leaned in close, voice"
15"He paused, scanning the room"
16"It was like a bad"
17"He held up a brass"
18"He jotted down a few"
19"He grumbled, picking up a"
ratio0.326
87.91% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount64
totalSentences86
matches
0"Detective Harlow Quinn stared at"
1"He'd seen his fill of"
2"Sweaty, hairy, wearing a sheriff's"
3"He fiddled with the focus,"
4"I'm not arguing"
5"I'm not a linguist."
6"A grin cracked, revealing a"
7"Detective Quinn held up the"
8"The phone rang again, shrilling,"
9"You got it."
10"A servant of destiny."
11"We're just starting our act"
12"We know he was applying"
13"Something for his"
14"An actor in a play."
15"The Cycle Of A Steel"
16"tell no expert"
17"way out is forward"
18"He smiled as AC/DC played"
19"He paused, hands clasped behind"
ratio0.744
58.14% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences86
matches
0"Because it stinks like something"
ratio0.012
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences6
technicalSentenceCount0
matches(empty)
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags48
uselessAdditionCount6
matches
0"He smiled, determined to be three steps behind"
1"He paused, hands clasped behind his back"
2"He pulled out, a diagram drawn out"
3"He leaned, voice low"
4"He gave, a ring of shimmering light hovering above it"
5"He sighed, shoulders slumping"
73.08% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount6
fancyTags
0"Sighing (sigh)"
1"he grumbled (grumble)"
2"He grumbled (grumble)"
3"He sighed (sigh)"
4"He sighed (sigh)"
5"Harlow grumbled (grumble)"
dialogueSentences78
tagDensity0.103
leniency0.205
rawRatio0.75
effectiveRatio0.154
87.7675%