Run: 2026-02-19-01KHTRM1W51H66SCWFYY4G4K16

Run Details

Model:
GPT-4.1
Duration:
38.0s
Cost:
$0.022540
Provider:
OpenAI

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
“Step back,” Detective Harlow Quinn said, lifting the battered tape with a gloved hand and ducking beneath. The smell struck first, sharp iron scored with something older, dust and rot. Harlow scanned the derelict platform: corrugated shadows, a spatter against crumbling tile, yellow tape sagging between rusted benches. Camden Down, last stop for nothing but ghosts and, by the look of it, someone’s last breath. A pair of constables lingered at the far edge, trading theories above bowed heads. In the centre, knees pressed to linoleum, forensics snapped photos around a blood-dark pool. Harlow squared her shoulders, slicing through the hush. Davies straightened, mouth twisting in clear relief. “Quinn. Glad it’s you.” A cheap biro spun between his fingers, anxious energy in clockwork flicks. She didn’t answer, didn’t have to. Shoes scuffed, Davies led her between puddled newsheets and half-charred rat tails. “ID?” she asked. “Not yet. No wallet, no phone. Just this.” He gestured at the backpack propped near the body, patches sewn along the straps, faded punk band logos and a single mishmashed tarot card—The Tower—shoved beneath a broken buckle. Harlow knelt. The corpse, youngish, lay twisted, jacket torn along one sleeve, throat bruised in two distinct lines—one broad, one finer and closer to the chin. Blood haloed the head, but the knife—no knife in sight. Her eyes travelled over the fingers, raw abrasions dusted with old soot, paleness beneath the nails. The shoes: white trainers streaked with black residue. She leaned closer. “Strange place for a mugging. Tube’s been shuttered for years. Security’s a dead letter here,” Davies said. “Too convenient,” Harlow muttered. “This was meant to be quiet.” Davies flipped his biro again. “Junkie scuffle, you ask me. Kids squat all over these old lines. One swings, blames run out—” He shrugged. “Things go sideways.” She reached for the backpack. The dead man’s hands were empty but tense, tendons taut. No sign of a defensive wound, but a patch of skin along the left wrist looked cleaner, washed careful as a saint’s relic. She rummaged through the bag—textbooks, wrinkled bus ticket, a battered tin that once held mints, now lined with steel shavings and what looked like bone dust. Tucked in the deepest pocket, she pulled free a small, tarnished compass, delicate, its face etched with sigils so fine they bit at her vision. “That’s no junkie’s toy,” she said. Davies frowned. “Found it on the body?” “Deep in the kit. Hidden.” Davies crouched beside her, peering at the compass. “Timepiece?” She shook her head. “Compass. Needle’s wrong. See the markings?” Her finger traced the edges, careful not to smudge the oil-dulled gleam. Verdigris greened the seams. She snapped the lid closed, slipped it into an evidence pouch. Davies grunted. “Odd, I’ll grant you. But a fight’s a fight—” “There’s more here.” She scanned the tiles again, gaze narrowing on a scuffed ring an arm’s width from the head wound. Dark powder, almost a burnt scent. Harlow rose, scanning for cameras already—none, she knew. But sometimes the ghosts left different traces. Behind the platform’s arch, the lighting flickered. Not a power surge. Something else. She caught Davies’s sleeve, nodded to the circle. “Ritual? Or a decoy?” He sucked his teeth. “Teen nonsense, more likely. Pentagrams next?” “No sigil here. Just binding work. See?” She pointed to a faint mark bisecting the powder—a deliberate cut, not a slip. “Not showy. Quiet restraint.” She prowled the perimeter. Her boot caught a lighter: brushed brass, initials half-gone under years of handling. The lid tasted of metal and wax, definitely not store-bought. She fished a scrap of white cloth from beneath the bench, printed with runes in careful, blotted ink. Davies watched, frowning. “You smell something?” “Apart from the blood?” “Old earth. Cordite.” She nodded. “This place has seen worse. But someone staged this. Carefully. That cut—binding, not violence. The wounds speak of control, not rage.” Davies rocked back on his heels, unconvinced. “Students. They nick things. Get into trouble with locals. Could be regular debt collection, occult window dressing for fun.” “And yet,” Harlow said, “they picked an abandoned station—no escape routes. Odd for amateurs. No scuffle, no hurried steps away in the dust. Whoever came, left orderly.” She moved toward the far wall. Graffiti fanned outwards, but a cluster of chalk-white symbols glimmered, cleaner than the rest as if someone had wiped the older tags aside. Her gaze tracked them, a sequence ending in a stylised bone. She knelt, gloved fingers tracing chalk. Footsteps echoed behind her, deliberate. “Detective Quinn.” She rose, recognising the voice before she saw the angular silhouette. Chief Inspector Ormsby, pressed as if the uniform might crumple under the station’s dirt. “Ormsby.” He surveyed the scene with clinical detachment. “Progress?” His eyes lingered on the compass in her evidence pouch. She handed it over wordlessly. Ormsby whistled. “Bit posh for a mugger.” “Not a mugging. Too clean. No forced theft, personal items undisturbed but hidden. All the violence localised, specific, and the compass—a tool, not a trinket.” Davies barked a soft laugh, the stress bleeding into a higher register. “Still could’ve been a lover’s quarrel gone bloody.” Harlow straightened. “Not if you recognise the sigils. Shade work. Precision. The blood was let, not spilled.” For a minute, no one spoke. Far off, a drip marked time. Ormsby’s fingers tightened around the compass, lips pressed so thin they paled. She circled back to the faded cloth. “Someone came here for a transaction. They set the tools, staged the ritual, boxed their mark.” “Deal gone wrong?” Davies asked, uncertainty crawling up his tone. “Wrong, or too right. Whoever finished, cleaned up. No footprints but the victim’s, no stray fibres. Whoever died didn’t fight—trusted their killer, or thought they could win.” Ormsby frowned, knuckles whitening as he rolled the compass over. A shout rang out down the platform—a constable’s voice warped by echo: “Got something!” They converged at the original tunnel entrance, the corridor where bricks turned raw and ancient. The constable jerked his chin at a fresh chalk mark: a spiral broken by a cross. “Not on the last sweep,” he said. “Fresh, I’d swear it.” Harlow eyed the opposing wall: a faint groove in the dust, as if something bulky had pressed through after the main event. “Someone’s still here.” Ormsby whipped out his torch, Davies already hauling at his radio. Harlow didn’t wait. She plunged after the dust line, senses thrumming with the electric tension of a door cracked open. The darkness thickened, swallowing the echo of boots. Behind her, Davies’s shout fractured—something sharp, smothered. She spun. A shadow detached itself from the bricks, gleam of metal, stench of sweat and old velvet. A figure loomed, mask askew, blade upswept. Harlow ducked, instincts dialled razor-sharp. She jammed forward, catching the wrist, twisting. Metal scraped concrete. Davies’s torch stabbed through the gloom, catching the figure’s eyes—black-limned, almost luminous. They hissed, writhing, a guttural word splintering the air. Behind them, Ormsby fired a warning shot. Concrete rained. The intruder bolted, cloak ghosting between archways, gone before she could breathe twice. Silence slammed down. Harlow’s pulse hammered at her throat, sleeve torn in the scuffle. Ormsby barked, “After them!” She ran.
created_at"2026-02-19T10:55:06.125Z" 2/19/2026, 10:55:06 AM
model"openai/gpt-4.1-2025-04-14"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency602
moderation_latency(null)
generation_time37890
tokens_prompt4671
tokens_completion2082
native_tokens_prompt4158
native_tokens_completion1778
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"
usage0.02254
router(null)
provider_responses
0
endpoint_id"c235abe8-11cc-42d3-95ad-72f4d198287a"
id"resp_0df074192682f168016996ec0a379c8194856b3d1cc1cdbc48"
is_byokfalse
latency151
model_permaslug"openai/gpt-4.1-2025-04-14"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771498506-9wYGNlOLXzPW5LRygUVN"
upstream_id"resp_0df074192682f168016996ec0a379c8194856b3d1cc1cdbc48"
total_cost0.02254
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
totalTags17
adverbTagCount0
adverbTags(empty)
dialogueSentences41
tagDensity0.415
leniency0.829
rawRatio0
effectiveRatio0
95.89% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1216
totalAiIsmAdverbs1
found
0
adverb"carefully"
count1
highlights
0"carefully"
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)
21.88% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1216
totalAiIsms19
found
0
word"scanned"
count2
1
word"etched"
count1
2
word"traced"
count1
3
word"scanning"
count1
4
word"flickered"
count1
5
word"tracing"
count1
6
word"footsteps"
count1
7
word"echoed"
count1
8
word"echo"
count2
9
word"electric"
count1
10
word"tension"
count1
11
word"fractured"
count1
12
word"velvet"
count1
13
word"loomed"
count1
14
word"gloom"
count1
15
word"silence"
count1
16
word"pulse"
count1
highlights
0"scanned"
1"etched"
2"traced"
3"scanning"
4"flickered"
5"tracing"
6"footsteps"
7"echoed"
8"echo"
9"electric"
10"tension"
11"fractured"
12"velvet"
13"loomed"
14"gloom"
15"silence"
16"pulse"
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
narrationSentences98
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences98
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences122
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1194
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
65.54% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount888
uniqueNames8
maxNameDensity1.69
worstName"Davies"
maxWindowNameDensity3
worstWindowName"Davies"
discoveredNames
Harlow12
Quinn1
Davies15
Tower1
Verdigris1
Dark1
Inspector1
Ormsby7
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Verdigris"
4"Ormsby"
places
0"Tower"
globalScore0.655
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences65
glossingSentenceCount1
matches
0"looked like bone dust"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.838
wordCount1194
matches
0"No footprints but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences122
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs62
mean19.26
std15.74
cv0.817
sampleLengths
017
148
236
37
416
518
63
737
863
917
1010
1127
1289
136
147
155
169
1737
1811
1927
2028
2112
2210
2325
2445
256
264
273
2823
2926
3027
3146
325
332
3425
351
3618
375
387
3925
4020
4117
4224
4323
4410
4527
4610
4714
4831
4911
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences98
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs175
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount11
semicolonCount0
flaggedSentences9
totalSentences122
ratio0.074
matches
0"“Not yet. No wallet, no phone. Just this.” He gestured at the backpack propped near the body, patches sewn along the straps, faded punk band logos and a single mishmashed tarot card—The Tower—shoved beneath a broken buckle."
1"The corpse, youngish, lay twisted, jacket torn along one sleeve, throat bruised in two distinct lines—one broad, one finer and closer to the chin."
2"Blood haloed the head, but the knife—no knife in sight."
3"She rummaged through the bag—textbooks, wrinkled bus ticket, a battered tin that once held mints, now lined with steel shavings and what looked like bone dust."
4"Harlow rose, scanning for cameras already—none, she knew."
5"“No sigil here. Just binding work. See?” She pointed to a faint mark bisecting the powder—a deliberate cut, not a slip."
6"A shout rang out down the platform—a constable’s voice warped by echo: “Got something!”"
7"Behind her, Davies’s shout fractured—something sharp, smothered."
8"Davies’s torch stabbed through the gloom, catching the figure’s eyes—black-limned, almost luminous."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount906
adjectiveStacks1
stackExamples
0"youngish, lay twisted, jacket"
adverbCount18
adverbRatio0.019867549668874173
lyAdverbCount2
lyAdverbRatio0.002207505518763797
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences122
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences122
mean9.79
std7.11
cv0.726
sampleLengths
017
113
218
317
414
514
68
77
816
96
1012
113
1237
132
1424
1510
1616
178
183
1917
204
216
225
2319
243
255
2610
2723
2826
2925
306
312
325
335
348
351
364
3718
384
3911
402
419
4221
436
448
457
467
474
482
498
79.78% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats1
diversityRatio0.48360655737704916
totalSentences122
uniqueOpeners59
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences80
matches(empty)
ratio0
80.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences80
matches
0"She didn’t answer, didn’t have"
1"He gestured at the backpack"
2"Her eyes travelled over the"
3"She leaned closer."
4"She reached for the backpack."
5"She rummaged through the bag—textbooks,"
6"She shook her head."
7"Her finger traced the edges,"
8"She snapped the lid closed,"
9"She scanned the tiles again,"
10"She caught Davies’s sleeve, nodded"
11"He sucked his teeth."
12"She pointed to a faint"
13"She prowled the perimeter."
14"Her boot caught a lighter:"
15"She fished a scrap of"
16"She moved toward the far"
17"Her gaze tracked them, a"
18"She knelt, gloved fingers tracing"
19"She rose, recognising the voice"
ratio0.35
41.25% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount67
totalSentences80
matches
0"Detective Harlow Quinn said, lifting"
1"The smell struck first, sharp"
2"Harlow scanned the derelict platform:"
3"Camden Down, last stop for"
4"A pair of constables lingered"
5"Harlow squared her shoulders, slicing"
6"Davies straightened, mouth twisting in"
7"A cheap biro spun between"
8"She didn’t answer, didn’t have"
9"Shoes scuffed, Davies led her"
10"He gestured at the backpack"
11"The corpse, youngish, lay twisted,"
12"Blood haloed the head, but"
13"Her eyes travelled over the"
14"The shoes: white trainers streaked"
15"She leaned closer."
16"Davies flipped his biro again."
17"She reached for the backpack."
18"The dead man’s hands were"
19"She rummaged through the bag—textbooks,"
ratio0.838
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences80
matches(empty)
ratio0
77.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences33
technicalSentenceCount3
matches
0"Graffiti fanned outwards, but a cluster of chalk-white symbols glimmered, cleaner than the rest as if someone had wiped the older tags aside."
1"Chief Inspector Ormsby, pressed as if the uniform might crumple under the station’s dirt."
2"Harlow eyed the opposing wall: a faint groove in the dust, as if something bulky had pressed through after the main event."
95.59% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount1
matches
0"Davies asked, uncertainty crawling up his tone"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount2
fancyTags
0"Harlow muttered (mutter)"
1"Ormsby barked (bark)"
dialogueSentences41
tagDensity0.22
leniency0.439
rawRatio0.222
effectiveRatio0.098
81.7282%