Run: 2026-02-19-01KHTX6WNCK0TGP2HGDC2B1DRY

Run Details

Duration:
1m 12s
Cost:
$0.001944
Provider:
AtlasCloud

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 black trainers splashed through the oily puddle, vanishing around the corner of Berwick Street. Harlow Quinn gave chase, her own boots a flat, wet slap on the slick pavement. *Eyes down. Pattern of movement. Left side of the street, weaving past the late-night kebabs queue.* She’d been on him for six blocks, since he’d bolted from the glow of The Raven’s Nest. Just a glimpse, a dark hood pulled low, but she knew the loping run. Knew the shape of him from three weeks of grainy CCTV stills taped to her incident board. He was her only solid thread into the Clique’s operations, and he was about to snap. Rain needled her neck, finding the gap between her collar and skin. She ignored it. Her focus narrowed to the space between shoulder blades thirty feet ahead. He cut right, down a narrow alley strewn with broken pallets and the sour stench of old beer. A dead end for cars. Not for people. Quinn skidded into the alley’s mouth. He was scrambling over a high brick wall topped with rusted spikes. “Met Police! Stop!” He threw a leg over, not even glancing back. A practised move. She covered the distance, launched herself at the wall, fingers scrabbling for purchase on wet brick. Her leather watch strap caught, tore. She hauled herself up, the spikes snagging her jacket. She dropped down the other side into a concrete service yard, landing in a crouch that sent a jolt through her knees. He was already at a heavy steel door, set into the foundation of a brutalist office block. Not a main entrance. A utility access. He produced a key, twisted it. The door swung open into darkness. He disappeared inside. Quinn sprinted across the yard. The door was closing. She jammed her foot in the gap, shoulder meeting cold steel. It groaned open. Silence. And a smell. Not damp, not mould. Something else. Incense. Ozone. The coppery tang of old magic, a scent she’d learned to recognise three years ago in a warehouse by the docks, the night Morris stopped answering his radio. A single, naked bulb fizzed to life above a steep metal staircase leading down. Far down. The hum of the city faded, replaced by a low, subterranean murmur. Voices. The clink of glass. Music, tinny and strange. She descended, one hand on the cold rail. The stairs ended in a short tunnel, brickwork giving way to the familiar, curved tiles of a London Underground station. But the roundels were painted over, the maps removed. Strand station, according to the archway, but Strand had been closed for decades. A figure stepped from the shadows, blocking the arch. Tall, gaunt, wearing a long coat that might have been leather or something older. Its eyes were hidden in deep sockets. “Token.” Quinn kept her hands loose at her sides. “Metropolitan Police. I’m in pursuit of a suspect.” “This is private property.” The voice was a dry rustle, like pages turning. “No token, no passage.” Her suspect was in there. The murmur of the market beckoned, a promise of answers. Of proof. Morris’s face flashed in her mind. The empty, unmarked evidence bag they’d handed her with his personal effects. A bag that had, for one second, felt impossibly cold. “What token?” The gaunt man held up a skeletal hand. Between finger and thumb was a small, yellowed object. A knuckle bone, drilled and threaded on a cord. “The price of entry. Or the price of forgetting the way you came.” She had neither. She had her warrant card and the steady, cold certainty in her gut. Going in blind was a disciplinary hearing. A career-ender. Possibly a life-ender. Morris would have followed. Quinn moved. Not forward, but to the side, using the curve of the tunnel wall. She feinted left, then dropped, sweeping a leg at the sentry’s knees. It didn’t buckle like a man’s would. It felt like hitting a tree root. A hand, cold as a tombstone, clamped around her bicep. She drove her elbow back, connected with something solid, and twisted free, surging past him through the arch. The sentry did not follow. It simply turned its head, watching her disappear into the crowd. The gatekeeper’s job was done. The Veil Market unfolded before her, a stolen breath held under the city. It was vast. The abandoned platform stretched into gloom, lit by flickering gas lamps, strings of faerie lights, and the sickly green glow of bioluminescent fungi growing in ceramic pots. Stalls lined the walls, cobbled together from old Tube cars, shipping containers, and moth-eaten velvet drapes. The air was thick with smells: strange spices, burning herbs, the sweet decay of magical reagents, and underneath it all, the damp, mineral smell of the Thames. And the people. Quinn’s brain catalogued them on instinct. A woman with scales glinting at her temples haggled over a jar of glowing worms. A hulking figure in a greatcoat, its face obscured by a scarf, examined what looked like a human finger bone carved into a flute. A pair of sharp-faced youths with too many teeth whispered over a spread of vintage watches, their hands moving with uncanny speed. She’d lost visual on her hoodie. He was a shadow among shadows here. She moved through the crowd, her police-trained gaze feeling crude, obvious. She wasn’t a predator here. She was the rabbit. “Saint John’s Wort? Fresh batch. Keeps the night-mares at bay.” A wizened creature beckoned from a stall of dried herbs. “No, thank you.” “Suit yourself, mortal. Your dreams are your own business.” She pressed on, towards the centre where the crowd was densest. A stall displayed an array of lenses and spectacles. *See-True Glasses. One hour rental. See what is, not what seems.* Another sold vials of liquid moonlight and bottled laughter. The absurdity of it warred with the chilling precision of the place. This was commerce. Organised, centuries-old commerce in things the Met didn’t have a file for. Then she saw him. He was at a stall near the old ticket booth, his hood down now, talking urgently with the vendor—a stout man with a jeweller’s loupe screwed into one eye. He was handing over a package. The vendor held up a small, complex device of brass and glass, clicking it open and shut. A trade. Quinn started forward, her hand going to the radio on her belt. Dead air. No signal this far down. She was alone. She was ten feet away when he turned. His eyes—a startling, pale blue—locked onto hers. No surprise. Just a flat, weary recognition. He said something to the vendor, snatched the brass device, and melted back into the throng, heading for a darker archway marked *To the Tunnels*. “Police! Stop right there!” The market’s murmur dipped for a second. Dozens of heads turned. Not with alarm, but with a mild, irritated curiosity. An unwanted disturbance. The vendor with the loupe slowly began closing his shutters. Quinn ran. She shoved past a cloaked figure who hissed, ducked under a line of hanging charms that tinkled like broken glass, and reached the archway. It wasn’t a platform. It was one of the old maintenance tunnels, narrow and dripping, lit by occasional, failing bulbs. The sound of running footsteps echoed ahead. She plunged into the dank darkness. The air grew colder. The sounds of the market faded, replaced by the drip-drip of water and the scuttle of unseen things in the dark. Her breath plumed in the weak light. The tunnel branched. She paused, listening. Silence from the left. A faint, shuffling scrape from the right. She went right. The tunnel curved, then opened into a wider space—a forgotten junction box or a signal room. Rusted metal cabinets lined the walls. In the centre, her suspect stood waiting, the brass device in his hand. He wasn’t out of breath. “You shouldn’t have come down here, Detective.” “Then you shouldn’t have run.” Quinn kept her distance, her stance balanced. “What’s in the package you handed over?” “A down payment.” He held up the brass device. It looked like a cross between a compass and a lockpick. “This is the key. To a door your lot sealed three years ago. The St. Jude’s warehouse.” Morris. The name hung between them, unspoken. The warehouse by the docks. “Who are you working for? The Clique?” He gave a short, bitter laugh. “The Clique are customers. Middle management. I’m freelance.” He tilted his head. “Your partner. Morris. He wasn’t supposed to be there that night. He was looking for something else. Something he shouldn’t have found.” Her blood went cold. “What did he find?” “A witness.” The man’s pale eyes were grave. “One the Clique very much wanted silenced. They used a… contractor. Something from the darker stalls of this very market. It left no trace your forensics could find.” Quinn’s voice was steel. “You’re coming with me. You can give your statement under caution.” “I don’t think so.” He raised the brass device. It began to whir, emitting a low, piercing hum that vibrated in Quinn’s teeth. “This doesn’t just open doors. It resonates. Attracts.” From the darker tunnels behind him, something answered. A sliding, heavy sound, like stone on stone. Then a wet, rhythmic sniffing. “The gatekeeper said the price of entry was a token,” the man said, backing towards another tunnel mouth. “Or the price of forgetting. They don’t like it when people skip the fare, Detective.” He turned and ran. Quinn took a step to follow, but the sniffing sound stopped. It was replaced by a low, guttural growl that seemed to come from everywhere at once. The last light bulb in the junction box flickered, died. In the perfect, suffocating blackness, something heavy began to drag itself towards her.
created_at"2026-02-19T12:15:17.686Z" 2/19/2026, 12:15:17 PM
model"deepseek/deepseek-v3.2-20251201"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1498
moderation_latency(null)
generation_time71610
tokens_prompt4663
tokens_completion2542
native_tokens_prompt4220
native_tokens_completion2228
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.00194384
router(null)
provider_responses
0
endpoint_id"3570a950-b80f-4acd-bb92-8e1c1c51fafc"
id"05c39ce1b2464fa7b858020f062a9d59"
is_byokfalse
latency1498
model_permaslug"deepseek/deepseek-v3.2-20251201"
provider_name"AtlasCloud"
status200
api_type"completions"
id"gen-1771503317-yqDoo5Fu8p981fXVryDj"
upstream_id"05c39ce1b2464fa7b858020f062a9d59"
total_cost0.00194384
cache_discount(null)
upstream_inference_cost0
provider_name"AtlasCloud"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences27
tagDensity0.259
leniency0.519
rawRatio0
effectiveRatio0
90.89% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1646
totalAiIsmAdverbs3
found
0
adverb"slowly"
count1
1
adverb"very"
count2
highlights
0"slowly"
1"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
42.28% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1646
totalAiIsms19
found
0
word"silence"
count2
1
word"familiar"
count1
2
word"gloom"
count1
3
word"velvet"
count1
4
word"glinting"
count1
5
word"hulking"
count1
6
word"uncanny"
count1
7
word"predator"
count1
8
word"chilling"
count1
9
word"complex"
count1
10
word"footsteps"
count1
11
word"echoed"
count1
12
word"unspoken"
count1
13
word"grave"
count1
14
word"vibrated"
count1
15
word"rhythmic"
count1
16
word"flickered"
count1
17
word"perfect"
count1
highlights
0"silence"
1"familiar"
2"gloom"
3"velvet"
4"glinting"
5"hulking"
6"uncanny"
7"predator"
8"chilling"
9"complex"
10"footsteps"
11"echoed"
12"unspoken"
13"grave"
14"vibrated"
15"rhythmic"
16"flickered"
17"perfect"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow2
found
0
label"blood ran cold"
count1
1
label"air was thick with"
count1
2
label"sent a shiver through"
count1
highlights
0"blood went cold"
1"The air was thick with"
2"sent a jolt through"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences163
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences163
filterMatches
0"watch"
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences182
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords30
totalWords1633
ratio0.018
matches
0"Eyes down. Pattern of movement. Left side of the street, weaving past the late-night kebabs queue."
1"See-True Glasses. One hour rental. See what is, not what seems."
2"To the Tunnels"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1414
uniqueNames16
maxNameDensity0.85
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Berwick1
Street1
Quinn12
Raven1
Nest1
Clique1
Morris4
London1
Underground1
Strand2
Veil1
Market1
Tube1
Thames1
Glasses1
Met1
persons
0"Quinn"
1"Raven"
2"Morris"
3"Strand"
4"Market"
5"Met"
places
0"Berwick"
1"Street"
2"Clique"
3"London"
4"Thames"
globalScore1
windowScore1
50.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences100
glossingSentenceCount4
matches
0"felt like hitting a tree root"
1"looked like a human finger bone carved in"
2"looked like a cross between a compass and"
3"growl that seemed to come from everywhere at once"
77.53% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.225
wordCount1633
matches
0"Not forward, but to the side, using the curve of the tunnel wall"
1"Not with alarm, but with a mild, irritated curiosity"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences182
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean28.65
std20.28
cv0.708
sampleLengths
030
116
264
353
418
53
665
739
823
940
1037
1150
1230
131
1416
1517
1645
172
1839
1928
204
2169
2221
2313
2473
2570
2633
2720
283
299
3067
3156
322
3322
3447
354
3633
3753
3844
3911
403
4140
427
4319
4437
4512
467
4740
488
4936
98.81% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences163
matches
0"been closed"
1"were hidden"
2"was replaced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs232
matches
0"was scrambling"
1"was handing"
95.76% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences3
totalSentences182
ratio0.016
matches
0"He was at a stall near the old ticket booth, his hood down now, talking urgently with the vendor—a stout man with a jeweller’s loupe screwed into one eye."
1"His eyes—a startling, pale blue—locked onto hers."
2"The tunnel curved, then opened into a wider space—a forgotten junction box or a signal room."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1426
adjectiveStacks1
stackExamples
0"twisted free, surging past"
adverbCount34
adverbRatio0.023842917251051893
lyAdverbCount8
lyAdverbRatio0.005610098176718092
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences182
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences182
mean8.97
std6.33
cv0.706
sampleLengths
015
115
22
33
411
517
614
717
816
912
103
1112
1218
135
143
156
1612
173
189
193
2016
216
229
2322
2417
254
263
276
286
293
305
314
3211
333
341
353
364
372
381
391
4028
4114
422
4312
441
454
464
478
4820
499
45.97% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.31868131868131866
totalSentences182
uniqueOpeners58
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences147
matches
0"Just a glimpse, a dark"
1"Possibly a life-ender."
2"Then she saw him."
3"Just a flat, weary recognition."
4"Then a wet, rhythmic sniffing."
ratio0.034
67.62% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences147
matches
0"She’d been on him for"
1"He was her only solid"
2"She ignored it."
3"Her focus narrowed to the"
4"He cut right, down a"
5"He was scrambling over a"
6"He threw a leg over,"
7"She covered the distance, launched"
8"Her leather watch strap caught,"
9"She hauled herself up, the"
10"She dropped down the other"
11"He was already at a"
12"He produced a key, twisted"
13"He disappeared inside."
14"She jammed her foot in"
15"It groaned open."
16"She descended, one hand on"
17"Its eyes were hidden in"
18"Her suspect was in there."
19"She had neither."
ratio0.381
51.84% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount120
totalSentences147
matches
0"The black trainers splashed through"
1"Harlow Quinn gave chase, her"
2"Pattern of movement."
3"She’d been on him for"
4"He was her only solid"
5"Rain needled her neck, finding"
6"She ignored it."
7"Her focus narrowed to the"
8"He cut right, down a"
9"A dead end for cars."
10"Quinn skidded into the alley’s"
11"He was scrambling over a"
12"He threw a leg over,"
13"A practised move."
14"She covered the distance, launched"
15"Her leather watch strap caught,"
16"She hauled herself up, the"
17"She dropped down the other"
18"He was already at a"
19"A utility access."
ratio0.816
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences147
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount1
matches
0"Tall, gaunt, wearing a long coat that might have been leather or something older."
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount1
matches
0"Quinn kept, her stance balanced"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences27
tagDensity0.037
leniency0.074
rawRatio0
effectiveRatio0
84.4976%