Run: 2026-02-19-01KHT10GD99BS6SR4KBJJRB50H

Run Details

Duration:
8.7s
Cost:
$0.001194
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 biting wind whipped Detective Harlow Quinn's closely cropped salt-and-pepper hair across her sharp jawline as she ducked under the police tape. The stench of stale urine and something far more unpleasant assailed her nostrils, a familiar perfume of the city's underbelly. This wasn't a back alley or a derelict warehouse; it was beneath the grander, more public face of London. Police uniforms milled about, their breath pluming in the cavernous space of an abandoned Tube station, the flickering emergency lights casting long, dancing shadows. "Quinn. You're late," a gruff voice boomed. Detective Inspector Miller stood by what looked like a chalk outline, his massive frame a familiar, if unwelcome, sight. "Traffic," Harlow replied, her voice clipped, her worn leather watch a silent testament to the time lost on the gridlocked streets. The air here was unusually cold, a chill that had nothing to do with the absence of heating. It felt ancient, heavy. "Traffic underground?" Miller scoffed, his ruddy face creased with irritation. "Don't be daft. What do you make of this?" He gestured to the scene. A single body, stark against the grime-slicked concrete. Male, mid-thirties, no obvious signs of struggle, no weapon. His eyes were wide, staring at something unseen above, a rictus of pure terror frozen on his face. "Looks like indigestion," Harlow said, her eyes scanning the immediate vicinity. Her gaze swept over discarded newspapers, a single, muddy boot, and a scattering of what looked like dried leaves. Unusual for an abandoned Tube station this deep beneath the city. "Nasty case of indigestion, then," Miller grumbled. "Uniforms found him an hour ago. No ID. No witnesses, naturally. This place is sealed tighter than a sarcophagus." Harlow crouched, her military precision evident in the fluid grace of her movement. She ignored the scattered detritus and focused on the chalk outline. The victim’s limbs were positioned unnaturally, splayed out as if he'd fallen from a great height, yet there was no impact trauma. No broken bones, no bleeding. "The leaves," Harlow murmured, picking one up gingerly between her thumb and forefinger. It was brittle, dry, and unnervingly out of place. They weren’t autumn leaves. They looked almost… petrified. "Where did these come from?" Miller shrugged. "We're going through the area. Probably blew in from somewhere. This access hatch was found ajar just up the tunnel." Harlow’s eyes narrowed. An access hatch. A place where things could ‘blow in’. She stood, her gaze sweeping across the cavernous space. The sheer scale of the station was disorienting. It was more than just a platform; it was a junction, a nexus of disused tunnels stretching out into the darkness like skeletal fingers. "Doesn't make sense, Miller," she said, her voice a low growl. "No signs of forced entry on the body. No ligature marks. No defensive wounds. He didn't fight. He just… died. And these leaves, they don't belong." "Maybe he was scared to death," Miller offered, a flicker of exasperation in his tone. "Happens. Especially when you're doing whatever low-life business brought him down here." "Scared to death doesn't leave you pristine," Harlow countered. She walked towards the edge of the platform, peering down into the dark chasm of the tracks. The air grew colder, the silence more profound. There was a faint, almost imperceptible hum, like the resonance of a distant, colossal bell. "What's this?" she asked, her attention caught by a peculiar marking etched into the concrete near the platform's edge. It was a symbol, intricate and alien, a swirling knot of lines that seemed to throb with a hidden energy. Miller ambled over. "Vandalism, probably. Kids these days, no respect for anything." Harlow traced the symbol with a gloved finger. It felt… wrong. Not just graffiti. It had a deliberate power to it, a ward against something, or perhaps an invitation. Her mind flickered back to another case, three years ago. DS Morris. The unexplained circumstances. The sensation of being watched, of unseen forces at play. "This isn't kids, Miller," she said, her voice barely a whisper. "This is old. And it's meant to do something." She pulled a small, brass compass from her jacket pocket. Its casing had a dull patina of verdigris, and the face was etched with protective sigils. A Veil Compass, a gift from an… unreliable source. She hadn't had cause to use it in years. Now, its surface felt unnaturally warm against her palm. Hesitantly, she held it out. The needle, usually so steady when oriented by magnetic north, spun wildly, then snapped to a point somewhere beyond the far end of the platform, deep into the inky blackness of a disused tunnel. "What in God's name is that contraption?" Miller demanded, squinting. "A tool," Harlow replied, her eyes fixed on the quivering needle. The hum in the air intensified, a low thrumming that vibrated in her bones. The leaves at her feet rustled, though there was no breeze. "It's pointing that way," Miller said, following her gaze. "That's the end of the line, blocked off years ago. Nothing but rubble." "Not nothing," Harlow corrected, a cold certainty dawning in her mind. The unnatural stillness of the body, the petrified leaves, the peculiar symbol, the compass’s frantic spin – it all coalesced into a terrifying, impossible picture. "This wasn't a murder, Miller. Not in the way we understand it." She began to walk towards the indicated tunnel, the Veil Compass clutched in her hand, its needle a frantic beacon in the suffocating darkness. The police tape seemed to recede, an arbitrary boundary against a reality far stranger than any of them were prepared for. "Harlow, where are you going?" Miller's shout echoed in the vastness, but she didn't turn back. The air grew heavy with a pressure that made each breath a labour. The hum deepened, a resonant vibration that seemed to emanate from the very earth beneath her feet. She could feel it now, a palpable wrongness seeping from the sealed tunnel, a scent like ozone and something decaying, something that had been trapped for a very long time. As she reached the mouth of the tunnel, a faint, greenish light flickered within. It pulsed, like a wounded heart. The leaves, here, were more numerous, a thick carpet crunching under her sensible boots. The symbol from the platform appeared again, larger, carved into the very rock of the tunnel entrance. And the compass in her hand pulsed with a blinding, emerald light, its needle now vibrating violently. She stopped, her breath catching in her throat. Between the compass and the tunnel, a faint shimmer in the air warped the light, distorting the concrete walls. It was like looking through heat haze, but the air was frigid. A tear. A rift. Something unstable and dangerous. "This is no ordinary crime scene," she murmured, more to herself than to anyone else. The hum intensified, coalescing into a low, guttural growl that seemed to scrape against her eardrums. Then, from the depths of the tunnel, a presence stirred. A palpable cold radiated outwards, extinguishing Miller’s distant voice and the drone of the forensics team. It was a primal fear, a terror that clawed at her very soul. The Veil Compass flared, and the needle, impossibly, pointed not to a location, but to a sensation—an overwhelming dread that was far more real than any dead body. Suddenly, the greenish light within the tunnel flared, illuminating the jagged edges of the shimmering distortion. From the heart of it, a shadow detached itself, coalescing into a formless mass that oozed towards her. It was silent, yet its presence screamed. Miller’s shout echoed again, closer this time, laced with genuine panic. "Harlow! Get back! The whole tunnel's shoring is groaning!" But Harlow Quinn didn't move. Her eyes, wide with a dawning, terrible understanding, were locked onto the shifting darkness. The compass in her hand felt like it was about to shatter. The symbol on the tunnel entrance pulsed with a malevolent light. And then, with a sound like tearing silk, the shadow lunged.
created_at"2026-02-19T04:02:28.412Z" 2/19/2026, 4:02:28 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency481
moderation_latency(null)
generation_time8630
tokens_prompt4671
tokens_completion2087
native_tokens_prompt4537
native_tokens_completion1850
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"
usage0.0011937
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency481
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771473748-0P51Gi5ulElSOV5NSD9M"
upstream_id(null)
total_cost0.0011937
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
totalTags19
adverbTagCount0
adverbTags(empty)
dialogueSentences28
tagDensity0.679
leniency1
rawRatio0
effectiveRatio0
77.63% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1341
totalAiIsmAdverbs6
found
0
adverb"hesitantly"
count1
1
adverb"very"
count4
2
adverb"suddenly"
count1
highlights
0"hesitantly"
1"very"
2"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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1341
totalAiIsms33
found
0
word"familiar"
count2
1
word"dancing"
count1
2
word"testament"
count1
3
word"chill"
count1
4
word"stark"
count1
5
word"scanning"
count1
6
word"flicker"
count1
7
word"pristine"
count1
8
word"silence"
count1
9
word"profound"
count1
10
word"resonance"
count1
11
word"etched"
count2
12
word"intricate"
count1
13
word"throb"
count1
14
word"traced"
count1
15
word"flickered"
count2
16
word"whisper"
count1
17
word"magnetic"
count1
18
word"vibrated"
count1
19
word"beacon"
count1
20
word"echoed"
count2
21
word"could feel"
count1
22
word"palpable"
count2
23
word"pulsed"
count3
24
word"depths"
count1
25
word"silk"
count1
highlights
0"familiar"
1"dancing"
2"testament"
3"chill"
4"stark"
5"scanning"
6"flicker"
7"pristine"
8"silence"
9"profound"
10"resonance"
11"etched"
12"intricate"
13"throb"
14"traced"
15"flickered"
16"whisper"
17"magnetic"
18"vibrated"
19"beacon"
20"echoed"
21"could feel"
22"palpable"
23"pulsed"
24"depths"
25"silk"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences100
matches(empty)
57.14% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences100
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences110
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1336
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions37
wordCount1126
uniqueNames10
maxNameDensity0.98
worstName"Harlow"
maxWindowNameDensity2.5
worstWindowName"Harlow"
discoveredNames
Detective2
Harlow11
Quinn2
London1
Tube2
Inspector1
Miller11
Morris1
Veil3
Compass3
persons
0"Harlow"
1"Quinn"
2"Inspector"
3"Miller"
4"Morris"
5"Compass"
places
0"London"
globalScore1
windowScore0.833
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences73
glossingSentenceCount7
matches
0"looked like a chalk outline, his massive"
1"looked like dried leaves"
2"lines that seemed to throb with a hidden energy"
3"vibration that seemed to emanate from the very earth beneath her feet"
4"appeared again, larger carved into the very rock of the tunnel entrance"
5"growl that seemed to scrape against her eardrums"
6"felt like it was about to shatter"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.749
wordCount1336
matches
0"not to a location, but to a sensation"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences110
matches(empty)
78.14% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs32
mean41.75
std17.68
cv0.424
sampleLengths
085
126
243
359
441
526
651
735
822
954
1037
1127
1249
1339
1412
1554
1620
1753
1839
1910
2036
2122
2248
2345
2476
2568
2647
2731
2867
2941
3020
3153
91.23% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences100
matches
0"were positioned"
1"was etched"
2"were prepared"
3"been trapped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs165
matches
0"was disorienting"
38.96% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount2
flaggedSentences4
totalSentences110
ratio0.036
matches
0"This wasn't a back alley or a derelict warehouse; it was beneath the grander, more public face of London."
1"It was more than just a platform; it was a junction, a nexus of disused tunnels stretching out into the darkness like skeletal fingers."
2"The unnatural stillness of the body, the petrified leaves, the peculiar symbol, the compass’s frantic spin – it all coalesced into a terrifying, impossible picture."
3"The Veil Compass flared, and the needle, impossibly, pointed not to a location, but to a sensation—an overwhelming dread that was far more real than any dead body."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount438
adjectiveStacks0
stackExamples(empty)
adverbCount13
adverbRatio0.02968036529680365
lyAdverbCount8
lyAdverbRatio0.0182648401826484
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences110
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences110
mean12.15
std6.83
cv0.563
sampleLengths
022
120
219
324
47
519
621
718
84
910
1014
118
129
1318
1411
1519
1611
177
1819
1913
2011
2122
225
2313
249
254
263
271
285
292
3020
313
323
337
349
358
3624
3711
3826
3915
4012
419
4217
438
4415
4519
4620
473
489
498
64.55% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.43636363636363634
totalSentences110
uniqueOpeners48
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences90
matches
0"Hesitantly, she held it out."
1"Then, from the depths of"
2"Suddenly, the greenish light within"
ratio0.033
91.11% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences90
matches
0"It felt ancient, heavy."
1"He gestured to the scene"
2"His eyes were wide, staring"
3"Her gaze swept over discarded"
4"She ignored the scattered detritus"
5"It was brittle, dry, and"
6"They weren’t autumn leaves."
7"They looked almost…"
8"She stood, her gaze sweeping"
9"It was more than just"
10"she said, her voice a"
11"She walked towards the edge"
12"she asked, her attention caught"
13"It was a symbol, intricate"
14"It had a deliberate power"
15"Her mind flickered back to"
16"she said, her voice barely"
17"She pulled a small, brass"
18"Its casing had a dull"
19"She hadn't had cause to"
ratio0.322
43.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount75
totalSentences90
matches
0"The biting wind whipped Detective"
1"The stench of stale urine"
2"This wasn't a back alley"
3"Police uniforms milled about, their"
4"a gruff voice boomed"
5"Detective Inspector Miller stood by"
6"Harlow replied, her voice clipped,"
7"The air here was unusually"
8"It felt ancient, heavy."
9"Miller scoffed, his ruddy face"
10"He gestured to the scene"
11"A single body, stark against"
12"His eyes were wide, staring"
13"Harlow said, her eyes scanning"
14"Her gaze swept over discarded"
15"Harlow crouched, her military precision"
16"She ignored the scattered detritus"
17"The victim’s limbs were positioned"
18"Harlow murmured, picking one up"
19"It was brittle, dry, and"
ratio0.833
55.56% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences90
matches
0"Now, its surface felt unnaturally"
ratio0.011
84.55% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount4
matches
0"Police uniforms milled about, their breath pluming in the cavernous space of an abandoned Tube station, the flickering emergency lights casting long, dancing sh…"
1"She could feel it now, a palpable wrongness seeping from the sealed tunnel, a scent like ozone and something decaying, something that had been trapped for a ver…"
2"The hum intensified, coalescing into a low, guttural growl that seemed to scrape against her eardrums."
3"The Veil Compass flared, and the needle, impossibly, pointed not to a location, but to a sensation—an overwhelming dread that was far more real than any dead bo…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount6
matches
0"Harlow said, her eyes scanning the immediate vicinity"
1"she said, her voice a low growl"
2"Miller offered, a flicker of exasperation in his tone"
3"she said, her voice barely a whisper"
4"Harlow corrected, a cold certainty dawning in her mind"
5"she murmured, more to herself than to anyone else"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount5
fancyTags
0"Miller grumbled (grumble)"
1"Harlow murmured (murmur)"
2"Miller demanded (demand)"
3"Harlow corrected (correct)"
4"she murmured (murmur)"
dialogueSentences28
tagDensity0.429
leniency0.857
rawRatio0.417
effectiveRatio0.357
75.5177%