Run: 2026-02-19-01KHTX7AC4R352D7SSHD0BFSMV

Run Details

Duration:
10.7s
Cost:
$0.005592
Provider:
Google AI Studio

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 alley reeked of stale beer and desperation. Quinn slid, boots skidding on slick cobblestones, the rain plastering her salt-and-pepper hair to her forehead. A flash of dark brown hair and a familiar tattered jacket vanished around the corner, a phantom against the neon-streaked backdrop of Soho. "Herrera!" she yelled, her voice swallowed by the hiss and splash of the downpour. He never looked back. Not that she expected him to. Tomás moved with a desperate grace, weaving through overflowing bins and discarded takeaway boxes. He knew these back alleys, the hidden veins of the city, better than most. Quinn, despite eighteen years on the force, always felt like an outsider in this labyrinth. Every twist and turn pulled her further from the orderly grid of her world, deeper into the murky underworld Herrera seemed to navigate with ease. Pounding footsteps echoed, hers and his, a frantic rhythm against the urban din. A broken bottle glinted under a flickering streetlight, a momentary distraction. She cleared it, pushing past a dripping fire escape, and emerged onto a narrow street. Traffic lights blurred, red and amber painting streaks across wet asphalt. Herrera was a small dark silhouette, darting between black cabs and double-decker buses. "Stop right there!" she shouted, her hand instinctively going for her holster, then dropping. No, not here. Not like this. He glanced over his shoulder then, a flicker of his warm brown eyes, before vanishing between two parked vans. Quinn swore under her breath, a frustrated grunt. He moved too fast, too fluidly for a man carrying secrets as heavy as his. The ache in her knees screamed in protest, a dull throb she had learned to ignore after years of late-night pursuits. She reached the vans, their metal sides cold and slick. A gap, barely wide enough for a person. She squeezed through, the worn leather of her watch catching on something unseen. Loose brickwork. A hidden passageway? This was more than just a quick escape route. This was planned. On the other side, the street opened into a wider road, but the familiar Soho buzz had faded. Here, the buildings were older, their facades crumbling, their windows dark. The rain intensified, cold drops stinging her exposed skin. Herrera was no longer visible. A cold knot tightened in her stomach. He was good. Too good. The glowing green neon sign of The Raven’s Nest, Silas’ bar, pulsed steadily in the distance, a beacon in the gloom. A faint memory stirred: Herrera leaving the bar weeks ago, his usual carefree stride replaced by a hurried gait. He had been looking over his shoulder then too. Suddenly, a metallic clang echoed from an alleyway to her left, followed by the faint thud of heavy footsteps. She moved towards the sound, her police instincts overriding the growing sense of unease. The alley was darker than the last, leading down a steep, narrow incline. The air grew heavy, thick with the scent of damp earth and something else, something cloying and ancient. "Herrera!" Her voice sounded thin, reedy, swallowed by the oppressive darkness. She picked up her pace, moving almost blindly, relying on the faint glow from the street above to guide her. The incline levelled out, and she found herself in a deserted cul-de-sac, surrounded by boarded-up shops. The chill here was profound, seeping into her bones. She pulled her coat tighter, scanning the shadows. Then she saw it. A flickering gas lamp, tucked away under a crumbling archway, illuminated a rough-hewn wooden door. The wood was black with age, scarred with carvings, unlike anything she had ever seen. And just beside it, a faint shimmer, a distortion in the pouring rain. A ripple in the air, like heat haze on a summer day, but cold. Hesitation gnawed at her, a bitter taste on her tongue. Her rational mind screamed at her to turn back. This wasn't a normal chase anymore. This felt… wrong. But the image of DS Morris flashed unbidden behind her eyes, the unexplained circumstances, the raw, lingering grief. She couldn't walk away again. Not when the answers might be just beyond this strange threshold. She pushed through the shimmering air, a sensation like walking through cold treacle, and found herself in a different kind of darkness. The rain, the wind, the distant city hum, all vanished. Instead, a low, guttural murmur filled the air, a thousand hushed conversations. The scent of ozone, damp stone, and something sweet, like dried herbs and old blood. Lamps, far too dim for modern London, cast long, dancing shadows, revealing a cavernous space. Ancient brickwork arched overhead, the unmistakable architecture of an abandoned Tube station. But this wasn’t just a disused platform. Stalls, makeshift and ramshackle, lined the platforms, heaped with objects that defied explanation: shimmering vials, intricate amulets, books bound in what looked suspiciously like human skin. Figures moved through the gloom, their faces obscured by hoods or shadows, their whispers creating a constant, unsettling drone. This was the Veil Market. The whispers on the street, the lunatic ramblings of drug addicts and conspiracy theorists, suddenly crystallized into a terrifying reality. She spotted Tomás then, a mere few metres ahead, weaving through the throng with practised ease. His scarred forearm, a permanent testament to a brutal knife attack, gleamed briefly under a hanging lantern. He was headed towards a particularly crowded stall, piled high with glowing crystals and dried animal parts. Each step deeper into the market felt like a transgression. Every glance from the cloaked figures seemed to pierce through her, an unwelcome intrusion. She adjusted her grip on her sidearm, tucked beneath her jacket, the cold steel a reassuring weight against her hip. Her mind raced, cataloguing threats. Unfamiliar territory, unknown rules, and a suspect who was clearly more than just a former paramedic. A figure, cloaked in heavy, dark fabric, bumped into her, muttering an apology in a language she didn't recognise. But the eyes that met hers through the shadowy hood were ancient, reptilian, and held a profound, unsettling knowledge. "Bone token," a low voice rasped from a nearby stall. A wizened old woman, her face a roadmap of wrinkles, held out a small, yellowed bone. "Entry." Quinn ignored her, pressing onward, her gaze fixed on Tomás. He was almost swallowed by the crowd now, moving towards a darker, less lit section of the market. She knew, with chilling certainty, that once he passed into that deeper shadow, he would be gone. "Stop!" she commanded, her voice cutting through the market's hum, drawing unwanted attention. Heads turned. Eyes, too many eyes, fixed on her. The sound of a hundred whispers died, replaced by a tense, expectant silence. Tomás froze, then slowly, reluctantly, turned. His warm brown eyes, usually full of a weary kindness, now held a glint of fear, and something else – resignation. "You shouldn't be here, Quinn," he said, his voice flat, devoid of its usual lilt. His hand, she noticed, was subtly resting on the hilt of a small, ornate dagger strapped to his hip. Not a paramedic's tool. Not a civilian's accessory. The silence grew heavier. The weight of every unseen gaze pressed down on her. She had a choice to make, right here, right now. Back out, retreat to the familiar, rational world, or step deeper into this supernatural abyss, into the unknown. The memories of Morris, the questions that haunted her, screamed at her. She wouldn’t, couldn't, back down. "We need to talk," she stated, taking another defiant step towards him. The air crackled with unspoken threats. He took a subtle step back, a barely perceptible movement among the frozen figures. She was a trespasser, an anomaly, and the market, it seemed, was ready to swallow her whole.
created_at"2026-02-19T12:15:31.723Z" 2/19/2026, 12:15:31 PM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency280
moderation_latency(null)
generation_time10651
tokens_prompt4663
tokens_completion2007
native_tokens_prompt4507
native_tokens_completion1696
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
usage0.0055921
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency280
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771503331-6d0UOQeoPZjF8ZeG4Fa1"
upstream_id(null)
total_cost0.0055921
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.875
leniency1
rawRatio0
effectiveRatio0
84.57% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1296
totalAiIsmAdverbs4
found
0
adverb"suddenly"
count2
1
adverb"slowly"
count1
2
adverb"reluctantly"
count1
highlights
0"suddenly"
1"slowly"
2"reluctantly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1296
totalAiIsms35
found
0
word"familiar"
count3
1
word"navigate"
count1
2
word"pounding"
count1
3
word"footsteps"
count2
4
word"echoed"
count2
5
word"flicker"
count1
6
word"throb"
count1
7
word"stomach"
count1
8
word"pulsed"
count1
9
word"beacon"
count1
10
word"gloom"
count2
11
word"sense of"
count1
12
word"oppressive"
count1
13
word"chill"
count1
14
word"profound"
count2
15
word"scanning"
count1
16
word"dancing"
count1
17
word"intricate"
count1
18
word"crystallized"
count1
19
word"testament"
count1
20
word"weight"
count2
21
word"raced"
count1
22
word"chilling"
count1
23
word"silence"
count2
24
word"glint"
count1
25
word"lilt"
count1
26
word"unspoken"
count1
highlights
0"familiar"
1"navigate"
2"pounding"
3"footsteps"
4"echoed"
5"flicker"
6"throb"
7"stomach"
8"pulsed"
9"beacon"
10"gloom"
11"sense of"
12"oppressive"
13"chill"
14"profound"
15"scanning"
16"dancing"
17"intricate"
18"crystallized"
19"testament"
20"weight"
21"raced"
22"chilling"
23"silence"
24"glint"
25"lilt"
26"unspoken"
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
narrationSentences107
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences107
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen26
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1288
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1258
uniqueNames12
maxNameDensity0.32
worstName"Herrera"
maxWindowNameDensity1
worstWindowName"Herrera"
discoveredNames
Soho2
Herrera4
Raven1
Nest1
Morris2
London1
Tube1
Veil1
Market1
Tomás4
Heads1
Quinn4
persons
0"Herrera"
1"Raven"
2"Morris"
3"Tomás"
4"Heads"
5"Quinn"
places
0"Soho"
1"London"
2"Market"
globalScore1
windowScore1
92.53% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount2
matches
0"felt like an outsider in this labyrinth"
1"felt like a transgression"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1288
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences108
matches(empty)
63.68% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs27
mean47.7
std17.79
cv0.373
sampleLengths
047
114
278
363
420
563
648
755
849
964
1011
1157
1257
1362
1459
1579
1625
1750
1865
1938
2027
2145
2235
2327
2442
2559
2649
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences107
matches
0"was headed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs192
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences108
ratio0.009
matches
0"His warm brown eyes, usually full of a weary kindness, now held a glint of fear, and something else – resignation."
95.92% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount403
adjectiveStacks0
stackExamples(empty)
adverbCount18
adverbRatio0.04466501240694789
lyAdverbCount4
lyAdverbRatio0.009925558312655087
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean11.93
std5.94
cv0.498
sampleLengths
08
116
223
314
44
56
614
714
815
925
1013
1111
1215
1311
1413
1514
163
173
1819
198
2015
2121
2210
238
2413
252
263
279
283
2918
3011
319
325
337
343
352
3621
3719
389
3919
4014
4113
4218
4311
4420
4516
469
478
484
4915
56.17% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.37037037037037035
totalSentences108
uniqueOpeners40
98.04% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences102
matches
0"Suddenly, a metallic clang echoed"
1"Then she saw it."
2"Instead, a low, guttural murmur"
ratio0.029
86.67% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences102
matches
0"she yelled, her voice swallowed"
1"He never looked back."
2"He knew these back alleys,"
3"She cleared it, pushing past"
4"she shouted, her hand instinctively"
5"He glanced over his shoulder"
6"He moved too fast, too"
7"She reached the vans, their"
8"She squeezed through, the worn"
9"He was good."
10"He had been looking over"
11"She moved towards the sound,"
12"Her voice sounded thin, reedy,"
13"She picked up her pace,"
14"She pulled her coat tighter,"
15"Her rational mind screamed at"
16"She couldn't walk away again."
17"She pushed through the shimmering"
18"She spotted Tomás then, a"
19"His scarred forearm, a permanent"
ratio0.333
53.14% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount83
totalSentences102
matches
0"The alley reeked of stale"
1"Quinn slid, boots skidding on"
2"A flash of dark brown"
3"she yelled, her voice swallowed"
4"He never looked back."
5"Tomás moved with a desperate"
6"He knew these back alleys,"
7"Quinn, despite eighteen years on"
8"Every twist and turn pulled"
9"A broken bottle glinted under"
10"She cleared it, pushing past"
11"Traffic lights blurred, red and"
12"Herrera was a small dark"
13"she shouted, her hand instinctively"
14"He glanced over his shoulder"
15"Quinn swore under her breath,"
16"He moved too fast, too"
17"The ache in her knees"
18"She reached the vans, their"
19"A gap, barely wide enough"
ratio0.814
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences102
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount3
matches
0"She picked up her pace, moving almost blindly, relying on the faint glow from the street above to guide her."
1"Stalls, makeshift and ramshackle, lined the platforms, heaped with objects that defied explanation: shimmering vials, intricate amulets, books bound in what loo…"
2"But the eyes that met hers through the shadowy hood were ancient, reptilian, and held a profound, unsettling knowledge."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount3
matches
0"she shouted, her hand instinctively going for her holster, then dropping"
1"she commanded, her voice cutting through the market's hum, drawing unwanted attention"
2"he said, his voice flat, devoid of its usual lilt"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"she yelled (yell)"
1"she shouted (shout)"
2"she stated (state)"
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0.75
effectiveRatio0.75
81.0238%