Run: 2026-02-19-01KHTXEB69ZM7Q5JGV7QV94ACP

Run Details

Duration:
3m 2s
Cost:
$0.002795
Provider:
DeepInfra

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 suspect’s shoulder slammed into a stack of empty crates outside a kebab shop, sending them clattering across the wet pavement. Detective Harlow Quinn vaulted the mess, her worn leather watch slapping against her wrist with each pumping stride. The rain wasn't helping. It sheeted down, turning the neon signs of Soho into bleeding watercolours and making the cobbles slick. He was fast, but she was relentless. Eighteen years of chasing shadows through this city had honed her into a weapon of military precision. She kept her eyes locked on the dark shape of his hoodie as he ducked into a narrow alleyway, a classic mistake. Alleys in Soho were a gamble; some opened onto bustling streets, others dead-ended. This one looked like a loser. She skidded into the mouth of the passage, one hand going to the service weapon holstered under her jacket. The alley was a dank corridor of dripping brick and overflowing bins. And it was empty. No doors, no fire escapes low enough. He’d vanished. Then she saw it. A faint, greenish glow emanating from a grate in the ground, partially obscured by a soggy cardboard box. The iron bars were askew, recently moved. A maintenance hatch? Too small. A sewer access? Possibly. But the glow was wrong—too clean, too electric. It was the distinctive green of a neon sign, but from below. Her radio crackled. "Quinn? Status. We lost visual." It was the surveillance team from two streets over. She keyed the mic, her voice low, her breath misting in the cold, damp air. "Suspect went to ground. Alley off Berwick Street. Checking a possible access point." "Stand by for backup." "Negative. He'll be gone." Her sharp jaw tightened. This was her case, her obsession. The patterns of this group, their movements, the strange gaps in their histories—it all echoed that unresolved ache from three years ago. The night she lost Morris. The night things stopped making sense. "Maintain perimeter. I'm going in." She holstered the radio. This was a terrible idea. Protocol screamed against it. But protocol hadn't caught them yet. Protocol didn't understand what she was chasing. She hooked her fingers through the cold, wet iron and heaved the grate aside. A set of rusted iron rungs descended into the gloom, the green light pulsing faintly from below. It smelled of damp earth, ozone, and something else… something metallic and strange. She descended, the sounds of the city fading above her, replaced by the drip of water and the hum of distant machinery. The ladder led not to a sewer tunnel, but to a disused service passage, its walls lined with thick, old electrical cables. The green light was stronger here, casting long, distorted shadows. At the end of the passage, a heavy, industrial door stood slightly ajar. Pushing it open, Harlow Quinn stepped into another world. The air changed. It was thick, warm, and carried a cacophony of scents: exotic spices, hot metal, decayed flowers, and that coppery tang again. She found herself on a metal gantry high above a vast, cavernous space. Below, stretching out into the darkness, was a market. But not any market she had ever seen. It was housed in what had clearly been an abandoned Tube station, the old platform edges still visible, now crowded with stalls. The curved, tiled arch of the tunnel ceiling soared overhead, lost in shadows. The place was a hive of activity, a chattering, clattering, shadowy inversion of the city above. The green glow came from a massive, intricate neon sign depicting a raven in flight, hanging over the central concourse. Stalls sold things that made her training seem laughably inadequate. One displayed rows of glistening, bottled things that moved. Another had what looked like weapons carved from bone and dark wood. A vendor argued with a customer over the price of a small, twitching creature in a cage. The crowd was a mosaic of the bizarre and the ordinary: men in long coats with too many pockets, women with eyes that seemed to catch the light wrong, alongside people in cheap anoraks and trainers who looked like they’d just popped out for a pint of milk. And there, weaving through the throng with the ease of a local, was her suspect. He glanced back once, up towards the gantry, and she knew he’d seen her. He didn't run; he just melted into the crowd, heading deeper into the market. She took the metal stairs down, her hand never straying far from her weapon. The noise swallowed her. A dozen different languages, the clink of strange glassware, the hiss of something being sold under breath. The rules here were not her rules. She was a foreign body, an infection, and the immune system of this place was starting to take notice. Eyes followed her. Conversations hushed as she passed. She kept moving, her own salt-and-pepper hair and practical coat making her stand out like a searchlight. She spotted him again, ducking into a stall that seemed to sell nothing but old books and jars of coloured dust. She approached, the crowd parting slightly. The stall was manned by an elderly woman with skin like wrinkled parchment and fingers stained a deep blue. She looked up as Quinn arrived, her eyes milky and unseeing, yet somehow sharply focused. "He's not here, dearie," the woman said, her voice a dry rustle. "I saw him come this way." "Many things are seen down here. Few are true." The woman gestured with a blue-stained hand towards her wares. "Looking for something? A truth, perhaps? I have many. They come expensive." "I'm looking for a man. In a grey hoodie. Where did he go?" The old woman smiled, a thin, bloodless line. "The Veil Market has many exits. And many entrances. But you… you need a token to use them." She tapped a small bowl on her counter filled with what looked like animal teeth and small, carved bones. "A bone for a passage. The price of entry. You paid none. How did you get in?" Quinn ignored her, scanning the back of the stall. There was no other way out. He had to be here. Then she saw it: a section of the overflowing bookshelf behind the old woman wasn't quite flush with the wall. A hidden door. She moved to step around the counter. The old woman's hand, surprisingly strong, shot out and gripped her wrist. The grip was cold, final. "You don't belong here, surface-dweller. This is not your hunt. Leave. Now." The hum of the market seemed to drop away. The surrounding chatter died. Every eye was on them. Quinn felt the weight of the place pressing down on her, a physical force. She could pull her arm back, show her badge, assert her authority. But her authority felt like tissue paper down here. This was the decision point. Back up, call it in, let the bizarre world beneath Camden swallow another lead. Or push forward, into the unknown, where the rules were written in a language she didn't understand. She met the woman's milky gaze, her own brown eyes hard. "Let go." The old woman’s smile widened, showing sharp, tiny teeth. "Or what?" From behind the bookshelf, a voice cut through the tension, calm and accented. "Abuela. Release the detective. She's with me." A man stepped into the light. He had warm brown eyes, short curly dark brown hair, and olive skin. A scar ran along his left forearm. A Saint Christopher medallion hung around his neck. He gave Quinn a slight, almost imperceptible shake of his head. A warning. The old woman released Quinn's wrist instantly, her manner shifting to one of deference. "Tomás. You vouching for this one?" "She's lost," Tomás Herrera said, his voice even, a former paramedic's calm in a crisis. "I'll see her out." He gestured for Quinn to follow him away from the stall. The market's noise slowly returned to its previous level, the immediate threat dissipating. He led her a short distance to a slightly quieter corner near a stall selling what smelled like strong, bitter coffee. "That was a stupid thing to do," he said, his tone low and urgent. "You don't come down here without a token. And you certainly don't come down here flashing that." He nodded towards the slight bulge of her holster. "Police business," Quinn stated, her voice tight. "I'm pursuing a suspect." "This isn't a police place. Your business isn't welcome here. That man you're chasing? He's gone. Through a door you'll never find. You just announced yourself to everyone who matters." "I know what I'm doing." "Do you?" His warm eyes held hers, and she saw no malice in them, only a weary frustration. "I've seen what happens to people who don't know the rules down here. They end up on my table. And I can't always put them back together." He was trying to protect her. The realisation was as unsettling as the market itself. "Why are you helping me?" "Because I patch people up, Detective. I don't like watching them walk into a meat grinder." He glanced over her shoulder, his body tensing. "And because your arrival has attracted the wrong kind of attention. We need to leave. Now." He was looking past her, towards the gantry she had descended from. Two large figures were moving down the stairs with a purpose that had nothing to do with shopping. They wore long, dark coats, and their faces were set in neutral, professional masks. Security. And they were looking right at her. Tomás gripped her elbow, his touch firm. "Don't run. Don't speak. Just walk with me. Quickly." He steered her through the crowd, away from the approaching men, towards the darker, older part of the station where the stalls thinned out and the shadows grew longer. The two figures quickened their pace, cutting through the crowd with an authority that made people scramble out of their way. "Who are they?" Quinn asked, her training kicking in, assessing threats, looking for exits. "The management," Tomas replied, pulling her into a narrow archway that led to a disused platform. "They don't ask questions first." The platform was dark, littered with forgotten debris and smelling of stale water. The only light came from a single emergency bulb flickering at the far end. It was a dead end. Footsteps echoed behind them, steady and unhurried, blocking the only way out. The two men stepped into the archway, silhouetted against the market's glow. They were bigger up close, their silence more threatening than any shouted command. Tomás stepped slightly in front of Quinn, a futile but instinctive gesture of protection. One of the men spoke, his voice a low rumble. "The token." "I can vouch for her," Tomás said, his voice steady but she could feel the tension in the arm pressed against hers. "She was leaving." "The token," the man repeated, flat and final. "Or the price." The second man reached inside his coat. Quinn’s hand went to her weapon, her heart hammering against her ribs. This was it. This was the fan. And the shit was
created_at"2026-02-19T12:19:21.937Z" 2/19/2026, 12:19:21 PM
model"deepseek/deepseek-chat-v3.1"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1425
moderation_latency(null)
generation_time182113
tokens_prompt4679
tokens_completion2793
native_tokens_prompt4220
native_tokens_completion2417
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4
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"
usage0.00279531
router(null)
provider_responses
0
endpoint_id"012f7d1f-23d4-4d03-9aa3-432d8ad82757"
id"cmpl-ae32786c444948c6ad4711d8d59e4686"
is_byokfalse
latency125
model_permaslug"deepseek/deepseek-chat-v3.1"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771503561-IoK6LFUqoa6FpCktj7OA"
upstream_id"cmpl-ae32786c444948c6ad4711d8d59e4686"
total_cost0.00279531
cache_discount3.19e-7
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences39
tagDensity0.359
leniency0.718
rawRatio0
effectiveRatio0
81.22% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1864
totalAiIsmAdverbs7
found
0
adverb"slightly"
count4
1
adverb"sharply"
count1
2
adverb"slowly"
count1
3
adverb"quickly"
count1
highlights
0"slightly"
1"sharply"
2"slowly"
3"quickly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
54.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1864
totalAiIsms17
found
0
word"pumping"
count1
1
word"electric"
count1
2
word"echoed"
count2
3
word"gloom"
count1
4
word"cacophony"
count1
5
word"intricate"
count1
6
word"glistening"
count1
7
word"mosaic"
count1
8
word"scanning"
count1
9
word"weight"
count1
10
word"tension"
count2
11
word"quickened"
count1
12
word"footsteps"
count1
13
word"silence"
count1
14
word"could feel"
count1
highlights
0"pumping"
1"electric"
2"echoed"
3"gloom"
4"cacophony"
5"intricate"
6"glistening"
7"mosaic"
8"scanning"
9"weight"
10"tension"
11"quickened"
12"footsteps"
13"silence"
14"could feel"
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
narrationSentences141
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences141
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)
analyzedSentences165
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1857
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount1547
uniqueNames11
maxNameDensity0.78
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Harlow2
Quinn12
Soho2
Morris1
Tube1
Camden1
Saint1
Christopher1
Herrera1
Tomas1
Tomás4
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Camden"
4"Saint"
5"Christopher"
6"Herrera"
7"Tomas"
8"Tomás"
places
0"Soho"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences109
glossingSentenceCount8
matches
0"looked like a loser"
1"looked like weapons carved from bone and"
2"eyes that seemed to catch the light wrong, alongside people in cheap anoraks and trainers who looked like they’d just popped out for a pint of milk"
3"looked like they’d just popped out for a"
4"stall that seemed to sell nothing but old books and jars of coloured dust"
5"looked like animal teeth and small, carve"
6"quite flush with the wall"
7"felt like tissue paper down here"
8"smelled like strong, bitter coffee"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.539
wordCount1857
matches
0"not to a sewer tunnel, but to a disused service passage, its walls lined with thick, ol"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences165
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs55
mean33.76
std21.33
cv0.632
sampleLengths
060
165
244
358
417
528
64
752
870
967
109
1154
1271
1396
1443
1569
1638
1740
1812
196
2031
2113
2262
2343
2424
2512
2653
2736
2813
2911
3020
3147
3220
3319
3445
3540
3611
3730
385
3945
4015
415
4240
4352
4416
4550
4614
4721
4832
4937
95.31% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences141
matches
0"was housed"
1"being sold"
2"was manned"
3"were written"
21.20% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs261
matches
0"wasn't helping"
1"was chasing"
2"was starting"
3"was trying"
4"was looking"
5"were moving"
6"were looking"
73.59% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount2
flaggedSentences4
totalSentences165
ratio0.024
matches
0"Alleys in Soho were a gamble; some opened onto bustling streets, others dead-ended."
1"But the glow was wrong—too clean, too electric."
2"The patterns of this group, their movements, the strange gaps in their histories—it all echoed that unresolved ache from three years ago."
3"He didn't run; he just melted into the crowd, heading deeper into the market."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1553
adjectiveStacks1
stackExamples
0"thick, old electrical cables."
adverbCount51
adverbRatio0.032839665164198326
lyAdverbCount19
lyAdverbRatio0.012234385061171926
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences165
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences165
mean11.25
std7.25
cv0.644
sampleLengths
021
118
24
317
47
517
622
713
86
919
1012
114
127
132
144
1518
167
173
182
193
201
218
2212
233
2414
2515
2613
274
288
296
3022
315
326
335
344
355
364
376
387
3914
4017
419
424
4322
4422
4510
4613
479
483
4921
46.06% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.32727272727272727
totalSentences165
uniqueOpeners54
49.02% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences136
matches
0"Then she saw it."
1"Then she saw it: a"
ratio0.015
93.53% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences136
matches
0"It sheeted down, turning the"
1"He was fast, but she"
2"She kept her eyes locked"
3"She skidded into the mouth"
4"It was the distinctive green"
5"Her radio crackled."
6"It was the surveillance team"
7"She keyed the mic, her"
8"Her sharp jaw tightened"
9"She holstered the radio."
10"She hooked her fingers through"
11"It smelled of damp earth,"
12"She descended, the sounds of"
13"It was thick, warm, and"
14"She found herself on a"
15"It was housed in what"
16"He glanced back once, up"
17"He didn't run; he just"
18"She took the metal stairs"
19"She was a foreign body,"
ratio0.316
40.88% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount114
totalSentences136
matches
0"The suspect’s shoulder slammed into"
1"Detective Harlow Quinn vaulted the"
2"The rain wasn't helping."
3"It sheeted down, turning the"
4"He was fast, but she"
5"She kept her eyes locked"
6"Alleys in Soho were a"
7"This one looked like a"
8"She skidded into the mouth"
9"The alley was a dank"
10"A faint, greenish glow emanating"
11"The iron bars were askew,"
12"A maintenance hatch?"
13"A sewer access?"
14"It was the distinctive green"
15"Her radio crackled."
16"It was the surveillance team"
17"She keyed the mic, her"
18"Her sharp jaw tightened"
19"This was her case, her"
ratio0.838
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences136
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount2
matches
0"The crowd was a mosaic of the bizarre and the ordinary: men in long coats with too many pockets, women with eyes that seemed to catch the light wrong, alongside…"
1"The two figures quickened their pace, cutting through the crowd with an authority that made people scramble out of their way."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount4
matches
0"the woman said, her voice a dry rustle"
1"he said, his tone low and urgent"
2"Quinn stated, her voice tight"
3"He glanced, his body tensing"
98.72% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount2
fancyTags
0"Quinn stated (state)"
1"the man repeated (repeat)"
dialogueSentences39
tagDensity0.205
leniency0.41
rawRatio0.25
effectiveRatio0.103
78.2645%