Run: 2026-02-19-01KHTXTNWA6YRYG10QJN042CHC

Run Details

Duration:
1m 10s
Cost:
$0.087580
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 hit a puddle and sprayed filth across Quinn's coat. She didn't slow. Eighteen years of chasing people through London's backstreets had taught her that hesitation killed momentum, and momentum was the only currency that mattered at eleven o'clock on a Tuesday night in Camden. He was fast, she'd give him that. Young, lean, moving like someone who knew these streets the way she knew the corridors of New Scotland Yard. He cut left down Hawley Crescent, vaulted a recycling bin, and disappeared behind the kebab shop on the corner. Quinn followed, her worn leather watch catching on the bin's edge as she scrambled over. The strap held. It always held. "Metropolitan Police! Stop!" He didn't stop. They never stopped. Rain hammered the pavement in sheets, turning the neon reflections into smeared oil paintings beneath her feet. She rounded the kebab shop and caught a flash of movement, a dark jacket ducking through a gap in a construction hoarding she'd never noticed before. The boards had been pulled apart just enough for a body to slip through sideways. Quinn pressed herself into the gap. Splinters caught her jacket. The space beyond opened into what should have been a demolition site but wasn't. Concrete steps descended into the earth where no steps belonged, lit by a sickly amber glow from somewhere below. The suspect's footsteps echoed up like stones dropped into a well. She pulled her radio from her belt. "Control, this is DI Quinn. In foot pursuit of male suspect, IC1, dark clothing, heading underground via construction site on Hawley Crescent. Requesting backup to my location." Static. Not the clean static of a dead zone, but something thicker, wetter, like the radio was drowning. "Control, respond." Nothing. Quinn stared down the steps. Water trickled along the edges, pooling in the cracks of each tread. The amber light pulsed once, faint as a heartbeat, then steadied. From below came the murmur of voices, too many for a Tuesday night in a hole under Camden. She checked her phone. No signal. The rain intensified above her, hammering the hoarding like applause. Three years ago, DS Morris had followed a suspect underground. Different borough, different case, same instinct. They'd found his warrant card in a drainage tunnel six days later. Nothing else. The official report cited structural collapse. Quinn had read the unofficial notes, the ones that mentioned symbols scratched into the tunnel walls and the fact that the drainage tunnel hadn't existed on any survey map since 1894. She descended. The steps went deeper than they should have. Thirty, forty, fifty treads. The walls transitioned from raw earth to Victorian brickwork to something older, smoother, stones fitted without mortar that wept moisture in the amber light. The air changed too. Up top it smelled of rain and exhaust. Down here, copper and something botanical she couldn't place. Sage, or something pretending to be sage. At the bottom, a narrow corridor opened before her. The voices grew distinct enough to separate, haggling, laughter, the clink of glass on glass. And then the corridor ended at a heavy iron door, already ajar. Quinn pushed through. The space beyond stole her breath. An abandoned Tube station, or what had once been one. The tiled walls still bore the ghost of a station name, scraped away decades ago, replaced by hand-painted symbols in languages she didn't recognise. The platform stretched in both directions, packed with stalls built from salvaged wood and draped in dark cloth. Lanterns hung from the vaulted ceiling on chains, casting pools of warm light that fought the shadows and lost. Hundreds of people moved between the stalls, and some of them, Quinn noted with a tightness in her chest, didn't move quite right. Too fluid. Too still. Too many joints in their fingers. The Veil Market. She'd heard rumours. Every copper in the Met had heard rumours. Informants who mentioned it tended to recant within days, and the ones who didn't tended to disappear. She scanned the crowd for her suspect. There, fifty metres ahead, weaving between a stall selling bottled liquids that glowed faintly violet and another displaying what appeared to be teeth arranged by size in velvet-lined cases. He glanced over his shoulder and their eyes locked. He bolted deeper into the market. Quinn moved. She kept her warrant card in her pocket, some instinct warning her that flashing Met credentials in this place would be like bleeding in shark water. She shouldered past a woman whose skin shimmered with iridescent scales and muttered an apology that went unacknowledged. A hand caught her elbow. "You're lost." She spun. A young man with olive skin and short curly hair stood beside a stall draped in white cloth. Medical supplies, she realised. Gauze, syringes, bottles of unlabelled liquid arranged with clinical precision. A scar ran along his left forearm, visible below his rolled sleeve, and a Saint Christopher medallion caught the lantern light at his throat. "I'm not lost." "Everyone who looks like you is lost down here." "Looks like me." "Like someone who pays taxes and trusts the police." He glanced at the bulge of her radio under her jacket. "Which you are." Quinn's jaw tightened. "I'm pursuing a suspect." "In here, everyone's a suspect." He released her elbow and began reorganising bottles on his stall, casual as a shopkeeper on a Sunday morning. "And no one's under your jurisdiction." "Everyone in London is under my jurisdiction." He laughed, a short bark without malice but without warmth either. "You're funny. What did this suspect do?" "That's police business." "And this is Market business. The two don't mix." He nodded toward the far end of the platform, where the crowd thickened around a cluster of larger stalls. "Your man went that way. Past the bonecrafters, through the archway with the green paint. But I'd stop chasing if I were you." "Why?" "Because that archway leads to the deep stalls. Things get sold back there that don't have names in English. And the people selling them don't care about your warrant card, your handcuffs, or the fact that you've got a Glock 17 you're not supposed to be carrying in a shoulder holster under your left arm." Quinn's hand instinctively moved toward her jacket. She stopped herself. The young man smiled, but his eyes held something complicated, not threat, not quite concern. "Paramedic's eye," he said. "You learn to spot the weight distribution. I'm Tomás, by the way. And you should leave." "People keep telling me where I should and shouldn't go. I find it motivating." "Motivating." Tomás leaned against his stall. "Your suspect, the one running. I've seen him before. He comes every market night, buys from a vendor in the deep stalls. Alchemical compounds. Nothing recreational. The kind of thing you'd use for bindings." "Bindings." "Restraints. Supernatural restraints. The kind that hold things that don't want to be held." His fingers found the medallion at his throat, turned it once. "Three years ago, a police officer died down here. Not in the deep stalls, but close. He found something he shouldn't have, or something found him. The market moved locations after that. Took them a week to clean the platform." Quinn's blood cooled. "How do you know about that?" "Because I was the one they called to try and save him." The market noise seemed to recede. Quinn stood in a pocket of silence with this stranger, this former paramedic with steady hands and a scar that spoke of violence, and the ground beneath her feet felt less solid than it had a moment ago. "DS Morris," she said. "His name was DS Morris." Something shifted in Tomás's expression. The practised neutrality cracked, just for a second, revealing something raw beneath. "I know what his name was." "The report said structural collapse." "Reports say all sorts of things." He picked up a roll of gauze, set it down again. "The things in the deep stalls didn't collapse anything. They opened something. A door that shouldn't exist, in a wall that shouldn't be there. Your partner walked through it." "And?" "And what came back wasn't him. Not all of him. Not enough." Tomás met her eyes. "I couldn't save what was left. Nobody could." Quinn's hand found the edge of his stall. The wood felt real. The gauze felt real. Everything around her, the lanterns, the stalls, the impossible underground station, felt real in a way that made her previous understanding of London seem flimsy, a postcard version of a city built on something much older and much less friendly. "The suspect I'm chasing. You said he buys binding compounds." "Every month. Same vendor." "Show me which one." Tomás stared at her. He pushed off from the stall and reached beneath the white cloth, producing a small bone token the size of a fifty-pence piece, carved with a symbol that seemed to shift when she wasn't looking directly at it. "This gets you into the market. Without it, the door upstairs won't open for you again." He pressed it into her palm. "Next full moon, everything moves. New location, new entrance. You'll need a new token." "I didn't ask for a membership card." "No. You asked me to take you to the deep stalls, which is worse." He rolled his sleeves down, covering the scar, and stepped out from behind the stall. "Stay close. Don't touch anything anyone offers you. Don't make eye contact with anything that doesn't have the right number of eyes. And whatever you do, don't draw that weapon." He started walking. Quinn pocketed the token and followed, past the bonecrafters with their impossible ivory arrangements, past a stall where a woman whispered into jars and sealed them with wax, past a man selling maps of places that, Quinn suspected, didn't exist on any surface she'd ever walked. The green-painted archway loomed ahead. Beyond it, the light dimmed to something barely qualifying as light at all, and the air thickened with the copper-sage smell, stronger now, laced with something chemical and sharp. Tomás stopped at the threshold. "Last chance, detective." Quinn looked back the way they'd come. The market churned behind her, a living thing with its own heartbeat and its own rules. Somewhere in the deep stalls, her suspect was buying tools designed to cage something inhuman. And somewhere in the deep stalls, three years ago, DS Morris had stopped being DS Morris. She stepped through the archway. The green paint on the stone wasn't paint. It pulsed beneath her fingertips as she brushed past, warm and faintly wet, and behind her, with the soft finality of a coffin lid, the archway sealed shut.
created_at"2026-02-19T12:26:06.097Z" 2/19/2026, 12:26:06 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1950
moderation_latency98
generation_time69430
tokens_prompt4663
tokens_completion2779
native_tokens_prompt4721
native_tokens_completion2559
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"
usage0.08758
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"547a527b-a2c4-45f6-9edc-407978adf511"
is_byokfalse
latency1950
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771503966-x5WpRm4rvQykTdKBgMiL"
upstream_id"547a527b-a2c4-45f6-9edc-407978adf511"
total_cost0.08758
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences47
tagDensity0.234
leniency0.468
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1783
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
66.35% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1783
totalAiIsms12
found
0
word"footsteps"
count1
1
word"echoed"
count1
2
word"pulsed"
count2
3
word"scanned"
count1
4
word"velvet"
count1
5
word"shimmered"
count1
6
word"warmth"
count1
7
word"weight"
count1
8
word"silence"
count1
9
word"loomed"
count1
10
word"churned"
count1
highlights
0"footsteps"
1"echoed"
2"pulsed"
3"scanned"
4"velvet"
5"shimmered"
6"warmth"
7"weight"
8"silence"
9"loomed"
10"churned"
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
narrationSentences113
matches(empty)
79.65% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences113
filterMatches
0"watch"
hedgeMatches
0"tended to"
1"appeared to"
2"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences149
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1778
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1281
uniqueNames19
maxNameDensity1.25
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Quinn16
London2
Tuesday2
Camden2
New1
Scotland1
Yard1
Hawley1
Crescent1
Morris3
Victorian1
Tube1
Veil1
Market1
Met2
Saint1
Christopher1
Sunday1
Tomás5
persons
0"Quinn"
1"Morris"
2"Saint"
3"Christopher"
4"Tomás"
places
0"London"
1"Camden"
2"Scotland"
3"Hawley"
4"Crescent"
5"Victorian"
globalScore0.875
windowScore0.833
82.43% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences74
glossingSentenceCount2
matches
0"not quite concern"
1"symbol that seemed to shift when she wasn't looking directly at it"
87.51% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.125
wordCount1778
matches
0"Not the clean static of a dead zone, but something thicker, wetter, like the radio was drowning"
1"Not in the deep stalls, but close"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences149
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs70
mean25.4
std23.44
cv0.923
sampleLengths
047
166
23
36
458
554
67
727
818
92
101
1146
1216
1367
142
1564
1636
173
186
19104
2031
2151
2246
235
242
2558
263
279
283
2923
307
3130
327
3311
347
353
3651
371
3855
3925
4020
4114
4240
431
4465
459
4612
4744
489
4917
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences113
matches
0"been pulled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs208
matches
0"was drowning"
1"wasn't looking"
2"was buying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences149
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1286
adjectiveStacks1
stackExamples
0"Young, lean, moving like"
adverbCount35
adverbRatio0.027216174183514776
lyAdverbCount9
lyAdverbRatio0.006998444790046656
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences149
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences149
mean11.93
std10.51
cv0.881
sampleLengths
012
13
232
37
419
519
615
73
83
93
103
113
1217
1326
1415
156
164
1714
1819
1911
207
2127
221
2317
242
251
265
2712
2811
2918
304
312
3210
3310
346
3512
362
376
3831
392
408
414
4224
434
448
459
467
479
4815
4912
69.57% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.44966442953020136
totalSentences149
uniqueOpeners67
65.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences102
matches
0"Too many joints in their"
1"Somewhere in the deep stalls,"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences102
matches
0"She didn't slow."
1"He was fast, she'd give"
2"He cut left down Hawley"
3"It always held."
4"He didn't stop."
5"They never stopped."
6"She rounded the kebab shop"
7"She pulled her radio from"
8"She checked her phone."
9"They'd found his warrant card"
10"She'd heard rumours."
11"She scanned the crowd for"
12"He glanced over his shoulder"
13"He bolted deeper into the"
14"She kept her warrant card"
15"She shouldered past a woman"
16"He glanced at the bulge"
17"He released her elbow and"
18"He laughed, a short bark"
19"He nodded toward the far"
ratio0.284
53.14% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount83
totalSentences102
matches
0"The suspect's boot hit a"
1"She didn't slow."
2"He was fast, she'd give"
3"He cut left down Hawley"
4"Quinn followed, her worn leather"
5"The strap held."
6"It always held."
7"He didn't stop."
8"They never stopped."
9"She rounded the kebab shop"
10"The boards had been pulled"
11"Quinn pressed herself into the"
12"Splinters caught her jacket."
13"The space beyond opened into"
14"The suspect's footsteps echoed up"
15"She pulled her radio from"
16"Quinn stared down the steps."
17"Water trickled along the edges,"
18"The amber light pulsed once,"
19"She checked her phone."
ratio0.814
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences102
matches(empty)
ratio0
3.11% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount9
matches
0"Eighteen years of chasing people through London's backstreets had taught her that hesitation killed momentum, and momentum was the only currency that mattered a…"
1"Young, lean, moving like someone who knew these streets the way she knew the corridors of New Scotland Yard."
2"Quinn had read the unofficial notes, the ones that mentioned symbols scratched into the tunnel walls and the fact that the drainage tunnel hadn't existed on any…"
3"The walls transitioned from raw earth to Victorian brickwork to something older, smoother, stones fitted without mortar that wept moisture in the amber light."
4"There, fifty metres ahead, weaving between a stall selling bottled liquids that glowed faintly violet and another displaying what appeared to be teeth arranged …"
5"She shouldered past a woman whose skin shimmered with iridescent scales and muttered an apology that went unacknowledged."
6"Quinn stood in a pocket of silence with this stranger, this former paramedic with steady hands and a scar that spoke of violence, and the ground beneath her fee…"
7"Everything around her, the lanterns, the stalls, the impossible underground station, felt real in a way that made her previous understanding of London seem flim…"
8"He pushed off from the stall and reached beneath the white cloth, producing a small bone token the size of a fifty-pence piece, carved with a symbol that seemed…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"He pressed (press)"
dialogueSentences47
tagDensity0.064
leniency0.128
rawRatio0.333
effectiveRatio0.043
86.1484%