Run: 2026-02-19-01KHTRB2S1QDJYW4YJ788CX4GX

Run Details

Duration:
46.5s
Cost:
$0.022520

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <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> </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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 neon sign above *The Raven’s Nest* flickered, its green glow bleeding into the rain-slicked pavement. Detective Harlow Quinn’s boots splashed through a puddle as she shoved open the bar’s heavy door, the scent of stale beer and cigarette smoke hitting her like a physical blow. Inside, the usual hum of conversation had died, replaced by the sharp clatter of a chair toppling over. A man—mid-twenties, olive-skinned, dark curls plastered to his forehead—bolted for the back exit, his Saint Christopher medallion bouncing against his chest. Quinn didn’t hesitate. She vaulted over a table, her worn leather watch strap digging into her wrist as she reached for her radio. "Suspect fleeing on foot, heading east from The Raven’s Nest. Requesting backup—" The radio crackled, then died, the battery light blinking red. *Brilliant.* She tossed it aside and sprinted after him. Tomás Herrera didn’t look back. He knew these streets better than she did, knew the shortcuts, the alleys, the places where the pavement gave way to something darker. He ducked left into a narrow passage, the brick walls pressing in on either side, the rain above muffled by the overhang of fire escapes. Quinn’s breath came sharp, her lungs burning. She’d lost her partner in a chase like this. Lost him to something she still couldn’t explain. She wasn’t losing another. The alley spat them out onto Camden High Street, the usual crowd thinned by the downpour. Tomás weaved through the stragglers, his scarred forearm flashing as he shoved past a group of teenagers. Quinn’s jaw tightened. She was gaining on him. The streetlights cast long shadows, turning the pavement into a chessboard of light and dark. Ahead, the entrance to the Camden Town Tube station yawned like a mouth, its stairs descending into the underground. Tomás didn’t slow. He took the steps two at a time, his boots slapping against the wet concrete. Quinn followed, her hand brushing the grip of her baton. The station was nearly deserted, the few commuters huddled under umbrellas or pressed against the tiled walls. A train rumbled into the station, its brakes screeching. Tomás glanced over his shoulder, his warm brown eyes locking onto hers for a split second before he darted toward the closing doors. Quinn lunged. Her fingers grazed the back of his jacket, but the doors hissed shut, sealing him inside. The train lurched forward, its lights receding into the tunnel. She cursed, slamming her palm against the nearest pillar. The station’s fluorescent lights buzzed overhead, casting a sickly glow over the empty platform. She pulled out her phone, thumbing through her contacts. Backup would take too long. She needed another way in. A flicker of movement caught her eye. A man in a long coat stood near the far end of the platform, his face obscured by a wide-brimmed hat. He held something in his hand—a small, pale object that looked like bone. Quinn’s instincts prickled. She approached slowly, her boots echoing against the tiles. "Evening," she said, her voice steady. "You see where he went?" The man didn’t turn. He lifted the bone token, examining it in the dim light. "He’s not your concern anymore, Detective." Quinn’s pulse spiked. "And you are?" A low chuckle. "Just a guide." He gestured toward the far wall, where a service door stood slightly ajar. The paint around the handle was chipped, the metal beneath rusted. "But you’ll want to hurry. The Market doesn’t wait for anyone." Quinn hesitated. She knew the stories—whispers of an underground black market that moved with the phases of the moon, where the things sold weren’t just illegal, but *impossible*. She’d dismissed them as urban legends. Until now. The door creaked as the man pushed it open wider, revealing a set of narrow stairs descending into darkness. Her radio was dead. Backup was minutes away, if they even believed her. Tomás was getting farther by the second. Quinn adjusted her grip on her baton and stepped forward. The door groaned shut behind her, sealing her in the dark. The air smelled of damp earth and something older, something metallic. Her breath came fast, her heart hammering against her ribs. The stairs seemed to go on forever, the walls pressing in until she could barely see the steps beneath her feet. Then, light. A flickering glow at the bottom, casting long shadows across the tunnel walls. Quinn slowed, her boots silent on the packed dirt. The tunnel opened into a vast chamber, its ceiling lost in the gloom. Stalls lined the space, their wares displayed under the dim light of lanterns and candles. The scent of incense and something sharper—alcohol, maybe, or chemicals—hung thick in the air. People moved between the stalls, their faces obscured by hoods or masks, their voices a low murmur. Quinn’s fingers twitched toward her baton. She wasn’t in Camden anymore. This was the Veil Market. And Tomás was here somewhere. A hand clamped down on her shoulder. She spun, her baton raised, but the figure was already retreating into the crowd, their coat blending into the shadows. Quinn caught a glimpse of a grin, teeth too white in the dim light, before they vanished. Her skin crawled. She forced herself to breathe, to focus. She wasn’t here to arrest the Market. She was here for Tomás. She moved deeper into the chamber, her eyes scanning the stalls. There—a flash of dark curls near a table laden with glass vials, their contents swirling with unnatural colors. Tomás was talking to a vendor, his hands gesturing urgently. Quinn started toward him, but a figure stepped into her path. A woman, her face painted with intricate designs, her eyes gleaming in the candlelight. "You don’t belong here, Detective," the woman said, her voice a low purr. "This place doesn’t answer to your laws." Quinn didn’t slow. "I’m not here for the Market. I’m here for him." She nodded toward Tomás. The woman’s lips curled. "He’s not yours to take." Quinn’s patience snapped. She sidestepped the woman, her boots kicking up dust as she closed the distance to Tomás. He turned just as she reached him, his eyes widening. "Quinn—" She grabbed his arm, her grip iron. "You’re coming with me. Now." Tomás yanked free. "You don’t understand. I can’t—" A shadow fell over them. The vendor behind the table stood, his height towering over them both. His face was obscured by a deep hood, but his voice was a growl. "Problem, Herrera?" Tomás swallowed. "No problem. Just a misunderstanding." Quinn didn’t take her eyes off him. "This isn’t a negotiation." The vendor chuckled, a sound like gravel shifting. "Everything’s a negotiation here, Detective." He reached beneath the table, and Quinn’s hand flew to her baton. But all he produced was a small, intricately carved box. He set it on the table between them. "Perhaps you’d like to make a trade." Quinn’s gaze flicked to the box, then back to Tomás. His face was pale, his jaw clenched. She could feel the eyes of the Market on them, the weight of the place pressing in. She didn’t know the rules here. Didn’t know what would happen if she tried to drag Tomás out by force. But she knew she couldn’t leave without him. She reached for the box. "What’s the trade?" The vendor’s grin widened. "Your name. For his freedom." Quinn’s fingers stilled. "My name?" Tomás grabbed her wrist. "Don’t. It’s not worth it." The vendor leaned forward, his voice a whisper. "Names have power here, Detective. And power is the only currency that matters." Quinn’s mind raced. She could feel the tension in the air, the unspoken threat hanging over them. She didn’t know what giving her name would mean. But she knew she wasn’t leaving without Tomás. She met the vendor’s gaze. "Deal." The vendor’s grin turned feral. He snapped his fingers, and the box on the table clicked open. Inside, a slip of paper lay curled, her name already scrawled across it in ink that looked like blood. Tomás lunged for the box, but the vendor was faster. He snatched it up, snapping it shut before Tomás could reach it. "Too late," the vendor said. "The deal is done." Quinn’s stomach twisted. She didn’t know what she’d just agreed to. But Tomás was already pulling her away, his grip tight on her arm. "We need to go. Now." She let him drag her through the crowd, her mind reeling. The Market seemed to shift around them, the stalls blurring together, the voices a cacophony of whispers. Tomás led her toward a narrow passage at the far end of the chamber, its entrance obscured by a tattered curtain. He shoved it aside, revealing another set of stairs, these leading upward. Quinn didn’t ask where they led. She just followed, her boots pounding against the steps. The air grew colder, the scent of earth giving way to something cleaner. Rain. They were heading back to the surface. They burst out into the night, the rain soaking them instantly. Quinn gasped, her lungs burning. They were in a different part of Camden, the streets quieter here, the buildings looming like silent sentinels. Tomás didn’t stop. He pulled her into another alley, this one narrower than the last, the walls slick with rain. Quinn yanked her arm free. "What the hell was that back there?" Tomás turned, his chest heaving. "You shouldn’t have followed me." "Cut the crap, Herrera. What were you doing in the Market?" He hesitated, his eyes darting to the alley’s entrance. "I was getting something. For a friend." Quinn stepped closer, her voice low. "What kind of something?" Tomás didn’t answer. His gaze flicked past her, his body tensing. Quinn turned. A figure stood at the alley’s entrance, silhouetted against the rain. Detective Quinn’s breath caught. She knew that stance, that bearing. It was like looking in a mirror. The figure stepped forward, the rain parting around her like a curtain. It was her. Another Harlow Quinn. But where her own clothes were soaked and disheveled, this version was pristine, her salt-and-pepper hair pulled back into a tight bun, her sharp jaw set in a cold smile. "Hello, Detective," the other Quinn said. "I’ve been waiting for you."
total_cost0.02252

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount1
adverbTags
0"The radio crackled then [then]"
dialogueSentences35
tagDensity0.229
leniency0.457
rawRatio0.125
effectiveRatio0.057
94.17% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1716
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
highlights
0"slowly"
1"slightly"
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)
27.16% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1716
totalAiIsms25
found
0
word"flickered"
count1
1
word"lurched"
count1
2
word"flicker"
count1
3
word"echoing"
count1
4
word"pulse"
count1
5
word"gloom"
count1
6
word"scanning"
count1
7
word"intricate"
count1
8
word"gleaming"
count1
9
word"flicked"
count2
10
word"jaw clenched"
count1
11
word"could feel"
count2
12
word"weight"
count1
13
word"whisper"
count1
14
word"raced"
count1
15
word"tension"
count1
16
word"unspoken"
count1
17
word"stomach"
count1
18
word"cacophony"
count1
19
word"pounding"
count1
20
word"looming"
count1
21
word"sentinels"
count1
22
word"pristine"
count1
highlights
0"flickered"
1"lurched"
2"flicker"
3"echoing"
4"pulse"
5"gloom"
6"scanning"
7"intricate"
8"gleaming"
9"flicked"
10"jaw clenched"
11"could feel"
12"weight"
13"whisper"
14"raced"
15"tension"
16"unspoken"
17"stomach"
18"cacophony"
19"pounding"
20"looming"
21"sentinels"
22"pristine"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"jaw/fists clenched"
count1
1
label"hung in the air"
count1
highlights
0"jaw clenched"
1"hung thick in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences156
matches(empty)
97.07% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences156
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"started to"
2"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences183
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords5
totalWords1703
ratio0.003
matches
0"The Raven’s Nest"
1"Brilliant."
2"impossible"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions72
wordCount1520
uniqueNames14
maxNameDensity1.97
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Raven1
Harlow2
Quinn30
Saint1
Christopher1
Herrera1
Camden4
High1
Street1
Town1
Tube1
Veil1
Market4
Tomás23
persons
0"Raven"
1"Harlow"
2"Quinn"
3"Saint"
4"Christopher"
5"Herrera"
6"Market"
7"Tomás"
places
0"Camden"
1"High"
2"Street"
3"Town"
4"Tube"
globalScore0.513
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences106
glossingSentenceCount2
matches
0"looked like bone"
1"looked like blood"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1703
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences183
matches
0"knew that stance"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean32.75
std25.63
cv0.783
sampleLengths
085
154
281
375
477
570
653
711
821
96
1041
1155
1283
1383
1421
157
1659
1764
1820
1917
209
2130
2212
238
2433
257
2611
2750
2854
298
308
319
325
339
3421
3534
366
3758
389
3929
4061
4136
4254
4312
4410
4511
4616
4710
4813
4928
98.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences156
matches
0"was chipped"
1"was obscured"
2"were soaked"
59.15% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs284
matches
0"wasn’t losing"
1"was gaining"
2"was getting"
3"was talking"
4"wasn’t leaving"
5"were heading"
64.79% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount8
semicolonCount0
flaggedSentences5
totalSentences183
ratio0.027
matches
0"A man—mid-twenties, olive-skinned, dark curls plastered to his forehead—bolted for the back exit, his Saint Christopher medallion bouncing against his chest."
1"He held something in his hand—a small, pale object that looked like bone."
2"She knew the stories—whispers of an underground black market that moved with the phases of the moon, where the things sold weren’t just illegal, but *impossible*."
3"The scent of incense and something sharper—alcohol, maybe, or chemicals—hung thick in the air."
4"There—a flash of dark curls near a table laden with glass vials, their contents swirling with unnatural colors."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1533
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.02609262883235486
lyAdverbCount8
lyAdverbRatio0.005218525766470972
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences183
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences183
mean9.31
std6.03
cv0.648
sampleLengths
016
130
218
321
43
520
622
79
85
923
1025
117
129
138
144
1516
1617
173
185
1915
2019
213
2215
2310
2417
259
2623
272
2816
2910
309
3114
329
335
345
357
3621
3713
383
399
406
415
424
4311
446
453
463
473
4816
4911
43.99% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.25136612021857924
totalSentences183
uniqueOpeners46
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences149
matches(empty)
ratio0
69.66% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences149
matches
0"She vaulted over a table,"
1"He knew these streets better"
2"He ducked left into a"
3"She’d lost her partner in"
4"She wasn’t losing another."
5"She was gaining on him."
6"He took the steps two"
7"Her fingers grazed the back"
8"She cursed, slamming her palm"
9"She pulled out her phone,"
10"She needed another way in."
11"He held something in his"
12"She approached slowly, her boots"
13"she said, her voice steady"
14"He lifted the bone token,"
15"He gestured toward the far"
16"She knew the stories—whispers of"
17"She’d dismissed them as urban"
18"Her radio was dead."
19"Her breath came fast, her"
ratio0.376
0.27% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount137
totalSentences149
matches
0"The neon sign above *The"
1"Detective Harlow Quinn’s boots splashed"
2"A man—mid—twenties, olive-skinned, dark curls"
3"Quinn didn’t hesitate."
4"She vaulted over a table,"
5"The radio crackled, then died,"
6"Tomás Herrera didn’t look back."
7"He knew these streets better"
8"He ducked left into a"
9"Quinn’s breath came sharp, her"
10"She’d lost her partner in"
11"She wasn’t losing another."
12"The alley spat them out"
13"Tomás weaved through the stragglers,"
14"Quinn’s jaw tightened."
15"She was gaining on him."
16"The streetlights cast long shadows,"
17"Tomás didn’t slow."
18"He took the steps two"
19"Quinn followed, her hand brushing"
ratio0.919
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences149
matches(empty)
ratio0
99.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount4
matches
0"He held something in his hand—a small, pale object that looked like bone."
1"She knew the stories—whispers of an underground black market that moved with the phases of the moon, where the things sold weren’t just illegal, but *impossible…"
2"She spun, her baton raised, but the figure was already retreating into the crowd, their coat blending into the shadows."
3"Tomás was talking to a vendor, his hands gesturing urgently."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount2
matches
0"she said, her voice steady"
1"the woman said, her voice a low purr"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences35
tagDensity0.114
leniency0.229
rawRatio0
effectiveRatio0
75.7006%