Run: 2026-02-19-01KHTRH40HYQ4NH10XS297SGP5

Run Details

Model:
GPT-4.1
Duration:
1m 9s
Cost:
$0.023666
Provider:
OpenAI

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
Blood on concrete. Someone’s boot had slipped, left a brief smear, vanished into shadows—then the figure crashed through an overflowing bin and bolted toward Charing Cross Road. Detective Harlow Quinn sprinted after, breath steady, boots landing with military rhythm. The city blurred by. Rain hammered skin, turned neon into jagged rivers of light. Her eyes tracked the suspect’s coat: oilskin, torn at the hem, vanishing around a corner near a pile of stained mattresses. A sharp scent—hot bread, car exhaust, the metallic lick of spilt beer. Harlow ducked a swinging elbow from a drunk in a threadbare blazer. The man cursed, voice lost in splashing tyres and sirens bouncing between shut newsagents. Someone dodged out of Harlow’s way. She barely registered the face, a moment of black eyeliner, a silver nose ring, gone in a flash. The suspect’s silhouette skidded left, fingers clawing at wet masonry, slipped into the narrow service alley behind an old tobacconist. Brick glistened, ancient soot streaking the shapes cut by dim security lights. She pressed the radio. "Suspect heading south, Tottenham Court Road. Alleyway behind Jackson’s. Heading for the back streets. I’m in pursuit." Static replied, then a fuzzed voice crackled. "Backup en route. Three minutes out. Keep eyes on—" She risked another step, caught the faint sound of pursued boots ringing against loose steel. The suspect tossed a glance behind—cheek hollow, eyes wild, a jaw shaved clean but mottled with rain and fear. He clutched something tight in his right fist, coat jammed across his chest as if hiding not just whatever he’d stolen but his whole spine. Harlow’s own chest burned. Memory flickered: a different alley, three years past, and Morris darted in ahead, torch swinging—gone before she truly understood. The suspect slid down the stairwell that snaked behind a Chinese takeaway, nearly lost his balance, hit the bottom running. Harlow followed, hand on her belt, steps measured yet urgent, gaze catching the battered blue metal door he’d just slammed through. She braced, shouldered through— Noises guttered and warped. Light went grey. A low ceiling pressed overhead, curling paint hanging from pipes, streams of condensation dripping in time with her heartbeat. He’d gone left, into the service tunnels. The sound of his haste echoed, carrying an edge of panic. But something else bled through: the faint, offbeat strains of a busker’s violin, muffled sobs of conversation, and a smell undercut with roasted coffee and engine oil and something sharper, unnameable. The tunnel angled down, rough stone giving way to scarred tile. Bare bulbs swung above. Torn posters flapped on the wall—old theatre bills, strange sixties adverts for miracle salves, all faded to ghostly white. Harlow slowed. A patch of graffiti caught her. Tiny, pale sigils, half-scraped. Wide, careful circles. The air tasted colder here, prickling her skin. She slipped her torch from her coat, killed it quickly—better to go by the subtle amber glow that seeped from a breach up ahead. A doorway hidden behind a battered billboard. The suspect’s shoulder left a fresh smear of blood on the frame. No sign of a handle. Harlow pressed her palm against the spot, testing for traps, pushed inwards. Wood shifted with a reluctant whine. The world bloomed open. She’d stepped beneath London. A platform. The cavernous hush of an old Tube station, paint peeling like scabs from the walls. Platforms broken by age, lined with ramshackle stalls. Lanterns hung above: bone-white, stitched with runes, swinging uneven. Voices rose and fell: laughter too quick, whispers like violin strings fraying, bargains hissed in five different languages. The Veil Market. A teenage girl with a spiked collar danced past, carrying a basket of glittering teeth. Beside her, a heavyset man in a tweed suit bartered with a woman whose eyes burned gold and never blinked. No entrance in the city guide. No CCTV. No rules she understood. Harlow pressed a cufflink to her wrist radio, muting it. If Central caught what she saw, they’d put her on leave for months. Down the platform’s far end, the suspect’s coat shuddered through a knot of traders. He looked back once, met her gaze—a plea and a warning, bright and brittle—then vanished deeper into the maze. She scanned the faces, caught a flash of a fox’s mask, an antlered silhouette, a jaw covered in scales. Rain clung to the air underground, stale but sharp. Near the tracks, a cluster of children with black eyes giggled over strange sweets that fizzed and spat blue sparks. One step down, and she blended in—almost. Her posture too straight, her focus new. Someone whistled behind her. "You lost, copper?" A man cheese-wired by muscle, accent like burnt rubber. Grey eyes flickered with something amused. He palmed what looked like a bone token, spun it through rough fingers. "Official business," Harlow replied, keeping her voice low, steel-wrapped. "Where’d he go?" Muscle man grinned. "Who’s he, pet? Most of us are just passing through." She fixed him with all the weight of her badge, hidden but implied: the crisped edges of authority. He shrugged, letting the token vanish. "Careful, love. Tourists walk out with fewer bits than they come in with. That’s if they walk out at all." Harlow pushed past him, eyeing the stalls: a display of vials marked with warnings in two dialects, a shelf of keys that shimmered and wrenched themselves free at her gaze. She skirted a territory marked with chalk, sidestepped a basket of what her mind violently refused to register as human hands. The suspect’s blood marked a trail. She caught it, flecks bright on the tile, crossing by a stall peddling shrunken heads. Ahead, a flash of his boot. He spun, desperate, cornered at the edge of the old platform. Between them lay a hunched woman, teeth like splintered glass, cupping ash between tattooed palms. He barked over his shoulder. "Stay away, I mean it. You don’t know what’s—" "Hand it over," Harlow snapped, voice calm, sharpened like glass. "Nowhere left to run." His fist shook. The wrapped bundle pressed against his chest, leaking dark drops. His face flicked from terror to fury, jaw creasing, resolve flickering in the shallow breaths he couldn’t hide. The hunched woman beside him looked up, face wreathed in smoke. "You bringing trouble, love?" Her accent was old East End, crisped by too many cigarettes, eyes sharp as broken bottles. Harlow didn't answer. The crowd shifted, wild and predatory. The market lived and breathed, its attention sharp. The suspect darted for the nearest black door— A stall-owner in a velvet jacket blocked his way, lips split in a fox’s grin. He twisted back, cornered between Harlow and the edge. "Let me pass." Sweat trickled into the collar. He eyed the drop onto the old tracks, risked a glance overhead—nowhere to climb, only the tunnel’s gut ahead. "What's so important you’ll bleed for it?" Harlow edged closer, baiting. "No choice," he spat. "You try walking away once you owe these people." A faint bell chimed. A new cluster edged forward, curiosity keen. Harlow’s hand tensed over her belt. One move and this crowd might snap teeth. A roar from the tunnel. Something massive forced air ahead of it, shifting the hair on her arms. Lanterns guttered. All heads turned toward the sound: the Market’s engine, alive, hungry. The black door behind the suspect cracked open. For a half-second, Harlow saw another world: cold blue, something flickering in the dark beyond. He bolted for the threshold. Harlow lunged. Her grip closed on his wrist—slippery, twisting—then the portal yawned, wider than sky. The market howled, drawn to the scent of new blood. His prize tumbled free, clattering over stone. Harlow caught only a glimpse: an amulet slick with rain and blood, casting sick light. Then the tunnel’s roar collided with the shriek of market traders, furniture skidding, deals snapping. Someone grabbed her coat, claws scraping the fabric. “Down!” a voice cried above the chaos, and then the world tilted as bodies flooded around her, pouring towards the opening, teeth bared, eyes ignited. Harlow lost her footing. The amulet rolled under the velvet-jacketed stall—out of sight. The suspect crashed through the blue-lit divide and vanished. And the black door slammed shut on the heel of her boot, the sound ringing like a gunshot.
created_at"2026-02-19T10:53:30.008Z" 2/19/2026, 10:53:30 AM
model"openai/gpt-4.1-2025-04-14"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency976
moderation_latency(null)
generation_time69209
tokens_prompt4663
tokens_completion2236
native_tokens_prompt4133
native_tokens_completion1925
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"completed"
usage0.023666
router(null)
provider_responses
0
endpoint_id"c235abe8-11cc-42d3-95ad-72f4d198287a"
id"resp_0abc76085fd7bf54016996ebaa26448197ac5e481f0db6fe00"
is_byokfalse
latency165
model_permaslug"openai/gpt-4.1-2025-04-14"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771498410-nkK6FXW74pW5gVlpCdVv"
upstream_id"resp_0abc76085fd7bf54016996ebaa26448197ac5e481f0db6fe00"
total_cost0.023666
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences16
tagDensity0.25
leniency0.5
rawRatio0
effectiveRatio0
92.84% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1396
totalAiIsmAdverbs2
found
0
adverb"truly"
count1
1
adverb"quickly"
count1
highlights
0"truly"
1"quickly"
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)
60.60% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1396
totalAiIsms11
found
0
word"flickered"
count2
1
word"measured"
count1
2
word"echoed"
count1
3
word"scanned"
count1
4
word"weight"
count1
5
word"shimmered"
count1
6
word"flicked"
count1
7
word"resolve"
count1
8
word"velvet"
count2
highlights
0"flickered"
1"measured"
2"echoed"
3"scanned"
4"weight"
5"shimmered"
6"flicked"
7"resolve"
8"velvet"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences120
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences120
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences132
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1375
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1269
uniqueNames16
maxNameDensity1.5
worstName"Harlow"
maxWindowNameDensity3.5
worstWindowName"Harlow"
discoveredNames
Charing1
Cross1
Road1
Harlow19
Quinn1
Morris1
Chinese1
Noises1
London1
Tube1
Veil1
Market2
Central1
Muscle1
East1
End1
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Market"
4"Central"
places
0"Charing"
1"Cross"
2"Road"
3"London"
4"East"
5"End"
globalScore0.751
windowScore0.5
93.18% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences88
glossingSentenceCount2
matches
0"as if hiding not just whatever he’d stolen but his whole spine"
1"looked like a bone token, spun it through"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.727
wordCount1375
matches
0"not just whatever he’d stolen but his whole spine"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences132
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean27.5
std15.9
cv0.578
sampleLengths
027
147
238
356
44
517
616
759
823
941
1030
1149
1234
1347
1442
154
1656
173
1847
1956
2048
2118
223
2328
2412
2513
2644
2751
2821
2932
305
319
3214
3331
3431
3517
3632
3727
3811
3913
4025
4131
4223
437
4430
4530
468
4725
4822
4918
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences120
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs241
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount15
semicolonCount0
flaggedSentences13
totalSentences132
ratio0.098
matches
0"Someone’s boot had slipped, left a brief smear, vanished into shadows—then the figure crashed through an overflowing bin and bolted toward Charing Cross Road."
1"A sharp scent—hot bread, car exhaust, the metallic lick of spilt beer."
2"The suspect tossed a glance behind—cheek hollow, eyes wild, a jaw shaved clean but mottled with rain and fear."
3"Memory flickered: a different alley, three years past, and Morris darted in ahead, torch swinging—gone before she truly understood."
4"She braced, shouldered through—"
5"Torn posters flapped on the wall—old theatre bills, strange sixties adverts for miracle salves, all faded to ghostly white."
6"She slipped her torch from her coat, killed it quickly—better to go by the subtle amber glow that seeped from a breach up ahead."
7"He looked back once, met her gaze—a plea and a warning, bright and brittle—then vanished deeper into the maze."
8"One step down, and she blended in—almost."
9"The suspect darted for the nearest black door—"
10"He eyed the drop onto the old tracks, risked a glance overhead—nowhere to climb, only the tunnel’s gut ahead."
11"Her grip closed on his wrist—slippery, twisting—then the portal yawned, wider than sky."
12"The amulet rolled under the velvet-jacketed stall—out of sight."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1290
adjectiveStacks0
stackExamples(empty)
adverbCount31
adverbRatio0.024031007751937984
lyAdverbCount8
lyAdverbRatio0.006201550387596899
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences132
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences132
mean10.42
std6.53
cv0.627
sampleLengths
03
124
212
34
410
521
612
712
814
96
1018
1120
1212
134
1417
157
169
1715
1819
1925
204
2119
2220
2321
244
254
263
2719
287
2911
3031
3111
324
3319
342
356
364
373
388
3924
407
4112
425
4312
446
454
464
472
4815
498
62.37% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.4015151515151515
totalSentences132
uniqueOpeners53
29.24% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences114
matches
0"Then the tunnel’s roar collided"
ratio0.009
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences114
matches
0"Her eyes tracked the suspect’s"
1"She barely registered the face,"
2"She pressed the radio."
3"She risked another step, caught"
4"He clutched something tight in"
5"She braced, shouldered through—"
6"He’d gone left, into the"
7"She slipped her torch from"
8"She’d stepped beneath London."
9"He looked back once, met"
10"She scanned the faces, caught"
11"Her posture too straight, her"
12"He palmed what looked like"
13"She fixed him with all"
14"He shrugged, letting the token"
15"She skirted a territory marked"
16"She caught it, flecks bright"
17"He spun, desperate, cornered at"
18"He barked over his shoulder."
19"His fist shook."
ratio0.237
60.88% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences114
matches
0"Blood on concrete."
1"Someone’s boot had slipped, left"
2"Detective Harlow Quinn sprinted after,"
3"The city blurred by."
4"Her eyes tracked the suspect’s"
5"A sharp scent—hot bread, car"
6"Harlow ducked a swinging elbow"
7"The man cursed, voice lost"
8"Someone dodged out of Harlow’s"
9"She barely registered the face,"
10"The suspect’s silhouette skidded left,"
11"Brick glistened, ancient soot streaking"
12"She pressed the radio."
13"Static replied, then a fuzzed"
14"She risked another step, caught"
15"The suspect tossed a glance"
16"He clutched something tight in"
17"Harlow’s own chest burned."
18"Memory flickered: a different alley,"
19"The suspect slid down the"
ratio0.798
43.86% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences114
matches
0"If Central caught what she"
ratio0.009
94.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences59
technicalSentenceCount4
matches
0"He clutched something tight in his right fist, coat jammed across his chest as if hiding not just whatever he’d stolen but his whole spine."
1"The suspect slid down the stairwell that snaked behind a Chinese takeaway, nearly lost his balance, hit the bottom running."
2"Near the tracks, a cluster of children with black eyes giggled over strange sweets that fizzed and spat blue sparks."
3"Harlow pushed past him, eyeing the stalls: a display of vials marked with warnings in two dialects, a shelf of keys that shimmered and wrenched themselves free …"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"Harlow snapped, voice calm, sharpened like glass"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"Harlow snapped (snap)"
1"he spat (spit)"
2"a voice cried (cry)"
dialogueSentences16
tagDensity0.25
leniency0.5
rawRatio0.75
effectiveRatio0.375
79.5801%