Run: 2026-02-19-01KHTXKNARN6VFM0D2XEXBA1CP

Run Details

Duration:
1m 9s
Cost:
$0.084130
Provider:
Amazon Bedrock

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 boot caught a puddle and kicked a fan of black water across the pavement. Quinn matched the stride, her lungs burning, the worn leather watch slapping against her wrist with every pump of her arms. He'd bolted the moment she'd stepped through the green neon glow outside the Raven's Nest. No words exchanged. No warrant flashed. Just eye contact, a flicker of recognition, and then Herrera was gone, threading between Friday-night crowds on Old Compton Street like a man who'd practised this route before. "Metropolitan Police! Move!" Bodies parted. Not fast enough. A woman with shopping bags stumbled sideways and Quinn caught her shoulder, steadied her without breaking pace, lost half a second. Herrera hung a left onto Charing Cross Road and she followed, shoes slapping wet concrete, the rain needling her face and blurring the streetlights into smeared orange halos. He was fast. Younger by twelve years, and he moved with the economy of someone who understood how bodies worked, which muscles to fire and when. She'd read his file. Former paramedic, lost his licence under circumstances that reeked of something the Met couldn't categorise. The scar on his left forearm had come from a knife attack in Whitechapel, but the incident report read like someone had redacted it with a flamethrower. She keyed her radio without slowing. "Control, this is Quinn. Pursuing suspect on foot northbound Charing Cross Road. Male, late twenties, olive complexion, dark curly hair. Heading toward, toward..." He cut right. Down a side street she didn't have a name for. "Heading east off Charing Cross. I need units on the parallel streets, now." Static. Then a bored voice: "Copy, Detective. Dispatching." They wouldn't arrive in time. She knew it. They knew it. The side street narrowed into an alley that smelled of grease and old cardboard. A restaurant's extraction fan roared overhead, pumping hot air that hit her like a wall. Herrera's silhouette flickered at the far end, and then he dropped. Not fell. Dropped. As if the ground had swallowed him. Quinn reached the spot fifteen seconds later, chest heaving. A service hatch in the pavement sat open, its iron cover pushed aside. A ladder descended into orange-tinged darkness. She could hear his footsteps below, rapid but controlled, already fading. She pulled her torch from her belt and pointed it down. Old brickwork. Victorian, from the look of it. A utility tunnel, or maybe an access shaft to the Underground. The air rising from the opening tasted of damp stone and something else, something herbal and sharp, like sage mixed with copper. Her radio crackled. "Quinn, units are five minutes out." Five minutes. An eternity in a foot chase. She holstered the radio and gripped the ladder. The rungs were slick with condensation. She descended twelve feet, maybe fifteen, and her shoes hit a platform of cracked tiles. The tunnel stretched in both directions, but only one set of wet footprints led forward. She followed them, torch in her left hand, right hand resting on the holstered ASP baton at her hip. The tunnel bent. Twisted. The walls changed from Victorian brick to something older, rougher, blocks of pale stone with chisel marks that looked hand-cut. Gas pipes ran along the ceiling, but they'd been dead for decades. The only light came from a string of mismatched bulbs, some bare filament, some modern LED, strung along a cable that someone had nailed into the mortar with no regard for building regulations or basic electrical safety. The footsteps ahead had stopped. Quinn slowed. Pressed her back against the wall. Listened. Voices. Not one or two. Dozens. A low murmur of commerce, of haggling, of transactions conducted in whispers. And beneath it all, a hum that vibrated in her molars, a frequency that felt less heard than endured. She rounded the final bend and stopped. The abandoned Tube station opened before her like a cathedral's nave. The original platform tiles remained in places, cream and green, the station name long since scraped away. But the space had been transformed. Wooden stalls and canvas-draped tables lined both platforms. Lanterns hung from the arched ceiling on chains of varying length, casting pools of amber light that overlapped and competed. Hundreds of people moved between the stalls, though "people" felt generous for some of them. A woman with skin the colour and texture of birch bark examined a jar of something luminous. A man in a pin-striped suit haggled with a vendor whose eyes reflected the lantern light like a cat's. The Veil Market. She'd heard the name in three separate case files over the past year, always as hearsay, always unconfirmed, always dismissed by her superiors with the particular brand of condescension reserved for theories that made the brass uncomfortable. It was real. It was operating beneath Camden in an abandoned Tube station, and it was the single most flagrant violation of approximately every law she could think of. Herrera was nowhere in sight. Quinn pressed herself into the shadows of the entrance tunnel and assessed. No uniform. No backup. No jurisdiction that anyone here would recognise. The radio signal had died two bends ago. Her torch beam would mark her as an outsider the moment she stepped onto the platform. She switched it off. The crowd moved with the practised choreography of regulars. Everyone knew where they were going. Everyone belonged. She watched a transaction at the nearest stall: a teenage boy handed over what looked like a small bone, bleached and carved with symbols, and received in return a paper bag that he tucked inside his jacket with the reverence of a jewel thief. Bone tokens. Entry currency. She'd seen one before, in an evidence bag from the Morris case. DS Morris, her partner, who'd followed a lead into a tunnel not unlike this one and never came back the same. The official report said cardiac event. The unofficial truth was that Morris had returned with white hair, aged thirty years in a single night, and couldn't remember his own daughter's name. He'd died in a care home eight months later, staring at a wall. Quinn's hand found the rough edge of the wall beside her. The stone was warm. It shouldn't have been warm. She could turn back. Climb the ladder. File the location, request a tactical team, do this by the book. In five minutes the units would arrive at the alley above. She could brief them, secure the entrance, call in specialist support from, from who? Who in the Metropolitan Police dealt with an underground market that sold things that glowed and hummed and smelled like burning sage? Nobody. That's who. Herrera emerged from behind a stall thirty metres away. He'd pulled up the hood of his jacket, but the Saint Christopher medallion caught the lantern light and flashed gold against his chest. He spoke to a vendor, an old woman hunched over a table covered in small glass vials, and she handed him something wrapped in cloth. He checked it, nodded, tucked it inside his jacket. Medical supplies. Off the books. That was his role, she knew, providing care for people the NHS couldn't, or wouldn't, treat. The question was what those people were and what they needed that required ingredients from a market that didn't exist. He turned and scanned the crowd. His gaze swept past her position, paused, and returned. Their eyes met across the platform. Herrera didn't run this time. He stood still, the medallion rising and falling against his chest, and watched her with an expression she couldn't parse. Not fear. Not guilt. Something closer to calculation, or maybe pity. He raised one hand, palm out. Stay. Then he reached into his pocket and pulled out a small object. Even at this distance, she could see it: a bone token, twin to the one from Morris's evidence bag. He placed it on the edge of the nearest stall, deliberately, facing her direction, and stepped back. An offering. Or a trap. The crowd shifted around him and a group of four, tall, hooded, moving in lockstep, crossed between them. When they passed, Herrera was walking toward the far end of the platform, where a second tunnel gaped like an open mouth. Quinn stared at the bone token sitting on the stall's edge. Thirty metres of open ground. No cover. No badge that meant anything down here. And on the other side of that token, answers about Morris, about the things that happened in the dark spaces beneath London, about every case file that ended with "insufficient evidence" because the evidence didn't fit any category the Met recognised. She thought about Morris's daughter at the funeral. Nine years old. Asking why her dad didn't remember her. Quinn stepped onto the platform. The crowd parted around her with unsettling precision, not hostile, but aware, the way a school of fish makes room for something they haven't yet identified as predator or prey. The herbal smell intensified. Her skin prickled with static that had no source. A vendor to her left stopped mid-sentence and tracked her with eyes that had too many pupils. She reached the stall. Picked up the bone token. It weighed almost nothing and radiated a faint warmth, like a pebble left in the sun. The old woman behind the table looked up at her. Skin like crumpled paper. A smile with too many teeth. "First time, love?" "Where does that tunnel lead?" "Depends on who's walking." "I'm walking." The old woman's smile widened. She reached beneath the table and produced a second bone token, darker than the first, almost brown, and pressed it into Quinn's other hand. "Then you'll need two. One to go in." Her fingers, cold and dry, curled Quinn's hand shut. "One to come out." The implication hung between them like smoke. Quinn pocketed both tokens and moved toward the far tunnel, where Herrera had vanished. The crowd sealed behind her. The lantern light thinned. At the tunnel's mouth she paused. The darkness ahead breathed, a slow exhale of cold air that carried the faintest sound, rhythmic, almost mechanical, like a heartbeat amplified through stone. Her hand found her baton. The bone tokens pressed against her thigh through her jacket pocket, one warm, one cold. From somewhere deep inside the tunnel, Herrera's voice echoed back to her, stripped of everything but urgency. "Quinn. You need to see this."
created_at"2026-02-19T12:22:16.16Z" 2/19/2026, 12:22:16 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3647
moderation_latency165
generation_time68779
tokens_prompt4663
tokens_completion2678
native_tokens_prompt4721
native_tokens_completion2421
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"
usage0.08413
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"d40f9f4c-f5af-4e77-b492-0d057fc38ad5"
is_byokfalse
latency3645
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771503736-zc2OYLfEekjXADQJJxZ4"
upstream_id"d40f9f4c-f5af-4e77-b492-0d057fc38ad5"
total_cost0.08413
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences14
tagDensity0.214
leniency0.429
rawRatio0
effectiveRatio0
97.13% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1741
totalAiIsmAdverbs1
found
0
adverb"deliberately"
count1
highlights
0"deliberately"
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)
59.79% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1741
totalAiIsms14
found
0
word"flicker"
count1
1
word"pumping"
count1
2
word"flickered"
count1
3
word"tinged"
count1
4
word"footsteps"
count2
5
word"vibrated"
count1
6
word"scanned"
count1
7
word"predator"
count1
8
word"warmth"
count1
9
word"implication"
count1
10
word"rhythmic"
count1
11
word"mechanical"
count1
12
word"echoed"
count1
highlights
0"flicker"
1"pumping"
2"flickered"
3"tinged"
4"footsteps"
5"vibrated"
6"scanned"
7"predator"
8"warmth"
9"implication"
10"rhythmic"
11"mechanical"
12"echoed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"flicker of emotion"
count1
highlights
0"a flicker of recognition"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences159
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences159
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences169
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1735
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1652
uniqueNames25
maxNameDensity0.67
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Raven1
Nest1
Herrera9
Friday-night1
Old2
Compton1
Street1
Quinn11
Charing1
Cross1
Road1
Met2
Whitechapel1
Underground1
Victorian2
Tube2
Veil1
Market1
Camden1
Morris6
Metropolitan1
Police1
Saint1
Christopher1
London1
persons
0"Herrera"
1"Friday-night"
2"Quinn"
3"Met"
4"Morris"
5"Police"
6"Saint"
7"Christopher"
places
0"Raven"
1"Old"
2"Compton"
3"Street"
4"Charing"
5"Cross"
6"Road"
7"Whitechapel"
8"Underground"
9"Victorian"
10"Market"
11"Metropolitan"
12"London"
globalScore1
windowScore1
99.49% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences99
glossingSentenceCount2
matches
0"looked like a small bone, bleached and ca"
1"smelled like burning sage"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.576
wordCount1735
matches
0"not hostile, but aware, the way a school of fish makes room for something the"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences169
matches
0"was that Morris"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs59
mean29.41
std24.81
cv0.844
sampleLengths
037
149
23
354
472
529
613
713
88
911
1050
1139
1252
139
148
158
1655
1773
185
199
2037
217
22113
2340
2429
255
2647
274
2861
2981
3020
3166
323
3366
3441
3515
366
3736
387
3948
405
4140
4266
4318
445
4560
4625
4720
483
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences159
matches
0"was gone"
1"been transformed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs284
matches
0"was operating"
1"were going"
2"was walking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences169
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1658
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.024125452352231604
lyAdverbCount4
lyAdverbRatio0.0024125452352231603
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences169
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences169
mean10.27
std8.57
cv0.835
sampleLengths
016
121
215
33
43
528
63
72
83
921
1028
113
1223
134
1415
1527
166
1723
183
1910
2013
211
227
235
243
253
2614
2715
2811
292
301
317
329
3313
346
3511
3611
372
386
3911
4022
413
426
432
446
458
466
4715
4815
4919
57.99% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.40828402366863903
totalSentences169
uniqueOpeners69
74.07% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences135
matches
0"Just eye contact, a flicker"
1"Then a bored voice:"
2"Then he reached into his"
ratio0.022
95.56% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences135
matches
0"He'd bolted the moment she'd"
1"He was fast."
2"She'd read his file."
3"She keyed her radio without"
4"He cut right."
5"They wouldn't arrive in time."
6"She knew it."
7"They knew it."
8"She could hear his footsteps"
9"She pulled her torch from"
10"Her radio crackled."
11"She holstered the radio and"
12"She descended twelve feet, maybe"
13"She followed them, torch in"
14"She rounded the final bend"
15"She'd heard the name in"
16"It was real."
17"It was operating beneath Camden"
18"Her torch beam would mark"
19"She switched it off."
ratio0.311
82.22% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount102
totalSentences135
matches
0"The suspect's boot caught a"
1"Quinn matched the stride, her"
2"He'd bolted the moment she'd"
3"A woman with shopping bags"
4"Herrera hung a left onto"
5"He was fast."
6"She'd read his file."
7"The scar on his left"
8"She keyed her radio without"
9"He cut right."
10"They wouldn't arrive in time."
11"She knew it."
12"They knew it."
13"The side street narrowed into"
14"A restaurant's extraction fan roared"
15"Herrera's silhouette flickered at the"
16"Quinn reached the spot fifteen"
17"A service hatch in the"
18"A ladder descended into orange-tinged"
19"She could hear his footsteps"
ratio0.756
74.07% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences135
matches
0"As if the ground had"
1"Even at this distance, she"
ratio0.015
65.93% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount7
matches
0"Quinn matched the stride, her lungs burning, the worn leather watch slapping against her wrist with every pump of her arms."
1"Just eye contact, a flicker of recognition, and then Herrera was gone, threading between Friday-night crowds on Old Compton Street like a man who'd practised th…"
2"Former paramedic, lost his licence under circumstances that reeked of something the Met couldn't categorise."
3"A restaurant's extraction fan roared overhead, pumping hot air that hit her like a wall."
4"She'd heard the name in three separate case files over the past year, always as hearsay, always unconfirmed, always dismissed by her superiors with the particul…"
5"Who in the Metropolitan Police dealt with an underground market that sold things that glowed and hummed and smelled like burning sage?"
6"The darkness ahead breathed, a slow exhale of cold air that carried the faintest sound, rhythmic, almost mechanical, like a heartbeat amplified through stone."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
93.5421%