Run: 2026-02-19-01KHTXX0QEZ9RJXDHAP4WA24Y8

Run Details

Duration:
2m 27s
Cost:
$0.002434
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 wet crates outside a fishmonger’s, sending a cascade of ice and mackerel skittering across the slick pavement. Detective Harlow Quinn hurdled the mess without breaking stride, her worn leather watch slapping rhythmically against her wrist. The rain wasn't helping. It blurred the green neon signs of Soho into bleeding watercolours and turned every footfall into a potential disaster. She’d picked up his trail outside The Raven’s Nest, that dive bar with too many secrets and too many exits. He’d been a flicker in the periphery, a nervous silhouette against the distinctive green glow. Now he was a blur of a dark coat, fast and desperate, cutting through the late-night crowds spilling from the theatres. "Met Police! Stop!" The command was swallowed by the city’s din, a useless formality. He didn't even flinch. He vaulted a low iron railing and disappeared down a set of greasy steps she knew led to a service alley. Quinn followed, her movements sharp with military precision, her salt-and-pepper hair plastered to her sharp jaw. The alley was a canyon of dripping pipes and overflowing bins, the air thick with the smell of rotting vegetables and wet concrete. He was faster, younger, but she knew these streets. She’d walked them for eighteen years. She cut a diagonal across the alley, her longer legs closing the gap, her mind already mapping the dead ends and choke points. He took a hard right, and for a heart-stopping second, she thought he’d ducked into one of the many illicit gambling dens that operated behind unmarked doors. But he didn't stop at a door. He dropped to his knees beside a rusted utility cover set into the cobblestones. With a grunt of effort, he pried it up, the screech of metal on stone grating against the rain’s steady hiss. He threw a panicked glance over his shoulder, his eyes wide and wild in the gloom, then dropped into the black hole. The cover clanged shut behind him. Quinn skidded to a halt, her breath clouding in the damp, cold air. She stood alone in the alley, the rain pattering on the discarded lid. This wasn't on any city schematic she’d ever seen. This was something else. Her radio crackled on her shoulder. "Quinn? Status. Did you lose him?" She keyed the mic, her voice steady, betraying none of the sudden, cold curiosity coiling in her gut. "Took a service tunnel. I’m in pursuit." The lie came easily. Morris would have known. He’d have felt the shift in the air, the wrongness of that opening in the ground. But Morris was gone. Three years. Unexplained circumstances. Supernatural origins. The words were a cold stone in her pocket she carried everywhere. She holstered the radio. This was no service tunnel. The cover was too heavy, too deliberately obscured by grime and neglect. This was a threshold. She crouched, her fingers tracing the cold, wet iron. Her instincts screamed at her to call it in, to get a tactical unit, to do this by the book. But the book had no pages for this. The book had failed Morris. If this was connected to the clique, to the things that moved in London’s shadows, then procedure was a useless shield. With a final, decisive breath, she gripped the edge. The metal was bitingly cold. She heaved it aside, the effort straining her shoulders. The opening revealed was not a ladder, but a steep, narrow staircase carved from old, damp brick, descending into absolute darkness. A faint, strange smell wafted up—ozone, old parchment, and something metallic, like hot copper. She drew her torch, the beam cutting a shaky path down the steps. She descended, each step a conscious choice to leave her world behind. The sounds of the city faded, replaced by the drip of water and the scuff of her own boots. The staircase turned sharply, and a faint, flickering light appeared from below. The passage opened abruptly into a cavernous space. Her torch beam was suddenly redundant, swallowed by a vast, chaotic glow. She stood on a metal gantry high above a scene that made her mind stutter and recalibrate. It was a market, but like no market she had ever seen. It sprawled through what had to be an abandoned Tube station, the old platforms transformed into a labyrinth of stalls and tents. The air hummed with a low, frantic energy, thick with the smells of exotic spices, curing meat, and that same sharp, coppery tang. The ceiling was lost in shadow, but from it hung hundreds of mismatched lanterns—caged electric bulbs, flickering gaslights, glowing orbs that pulsed with a soft, internal light—casting a jittery, uneven illumination over the scene below. This was the Veil Market. A rumour, a ghost story cops told each other after a few too many pints. She’d never believed it was real. And there, thirty feet below, weaving through the crowd with the ease of a local, was her suspect. The crowd was a gallery of the impossible. A woman with iridescent scales dusted across her cheekbones haggled over a jar of swirling black liquid. A hulking figure wrapped in heavy robes examined a blade that seemed to drink the light around it. Whispers slithered through the air in languages she didn't recognise, deals were struck with handshakes that left faint, glowing sigils on skin. Her training demanded she retreat, call for backup she knew would never come, would never be cleared for this. This was beyond their jurisdiction. This was beyond any jurisdiction. But her suspect was getting away, swallowed by the bizarre throng. He knew this place. He felt at home here. And that made him more dangerous than any armed robber she’d ever chased. She needed to move, to blend, but she was a lighthouse beam in a cave of shadows—a Met detective in a sober coat and sensible shoes in a world of silk, scales, and shadow. Her hand went to the radio again, a lifeline to the world above, but her fingers hesitated. What would she say? *Requesting assistance at the supernatural black market beneath Camden. Suspect is browsing the enchanted weapons aisle.* A figure detached itself from the shadows near the gantry stairs. He was lean, with short curly dark hair and olive skin. He wore a simple dark jumper, but the scar running along his left forearm was visible as he lifted a hand, a Saint Christopher medallion glinting at his throat. "This is a bad place to be lost, Detective." His accent was warm, Spanish. Seville, maybe. His eyes, a warm brown, held no threat, only a weary caution. He looked her up and down, taking in her posture, her sharp gaze, the way her hand rested near her hip. "You stick out. Badly." "Not lost," Quinn said, her voice low, her eyes never leaving the retreating form of her suspect as he ducked into a stall hung with what looked like preserved animal hearts. "Working." The man—Tomás—followed her gaze and a frown creased his brow. "Ah. Him. You will not take him from here. Not without causing a scene. And a scene here..." He let the sentence hang. The implication was clear. It would be very, very messy. "He's a person of interest in an investigation." "Everyone here is a person of interest in someone's investigation." He took a step closer, his voice dropping to a conspiratorial murmur. "This is not your place. Your rules do not apply. They have their own justice. It is faster. And far less concerned with warrants." Below, her suspect concluded his transaction, accepting a small, cloth-wrapped parcel. He turned, and for a fleeting second, his eyes scanned the upper level. They swept past her, then snapped back. He’d seen her. Panic flared in his expression. He shoved the parcel into his coat and bolted deeper into the market, towards a dark archway that promised even deeper, older tunnels. Quinn’s body tensed, every instinct screaming to give chase. Tomás’s hand was on her arm, not restraining, but a firm warning. "Don't. That leads to the old sewers. The parts even they do not fully control. It is a maze. You will not come out." She shook his hand off, her decision crystallising in that moment. Procedure had failed. Caution had cost her Morris. This… this was the edge of the map. This was where the truth was hiding. "Then I guess I'd better not get lost," she said, and launched herself down the last flight of stairs into the seething, unnatural heart of the Veil Market. The crowd parted before her like a dark sea, eyes of every colour and shape tracking her progress. She was a shark in a reef, and every creature here knew it. She fixed her eyes on the dark archway, the last place she’d seen him, and pushed forward into the unknown, the worn leather watch on her wrist counting down the seconds until something in the shadows pushed back.
created_at"2026-02-19T12:27:22.742Z" 2/19/2026, 12:27:22 PM
model"deepseek/deepseek-chat-v3.1"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1023
moderation_latency(null)
generation_time147226
tokens_prompt4679
tokens_completion2237
native_tokens_prompt4220
native_tokens_completion1960
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached13
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"
usage0.00243356
router(null)
provider_responses
0
endpoint_id"012f7d1f-23d4-4d03-9aa3-432d8ad82757"
id"cmpl-4cf24e42b98d4448ba7b88f163407e82"
is_byokfalse
latency143
model_permaslug"deepseek/deepseek-chat-v3.1"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771504042-e3yxxz2WangWAFDHBaeE"
upstream_id"cmpl-4cf24e42b98d4448ba7b88f163407e82"
total_cost0.00243356
cache_discount0.000001039
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
46.15% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount1
adverbTags
0"The lie came easily [easily]"
dialogueSentences13
tagDensity0.385
leniency0.769
rawRatio0.2
effectiveRatio0.154
83.47% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1512
totalAiIsmAdverbs5
found
0
adverb"deliberately"
count1
1
adverb"sharply"
count1
2
adverb"suddenly"
count1
3
adverb"very"
count2
highlights
0"deliberately"
1"sharply"
2"suddenly"
3"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
53.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1512
totalAiIsms14
found
0
word"footfall"
count1
1
word"potential"
count1
2
word"flicker"
count1
3
word"gloom"
count1
4
word"tracing"
count1
5
word"chaotic"
count1
6
word"electric"
count1
7
word"pulsed"
count1
8
word"hulking"
count1
9
word"silk"
count1
10
word"glinting"
count1
11
word"implication"
count1
12
word"fleeting"
count1
13
word"scanned"
count1
highlights
0"footfall"
1"potential"
2"flicker"
3"gloom"
4"tracing"
5"chaotic"
6"electric"
7"pulsed"
8"hulking"
9"silk"
10"glinting"
11"implication"
12"fleeting"
13"scanned"
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
narrationSentences111
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences111
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)
analyzedSentences117
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen38
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords16
totalWords1501
ratio0.011
matches
0"Requesting assistance at the supernatural black market beneath Camden. Suspect is browsing the enchanted weapons aisle."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount1377
uniqueNames17
maxNameDensity0.36
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Morris"
discoveredNames
Harlow1
Quinn5
Soho1
Raven1
Nest1
Morris4
London1
Tube1
Veil2
Market2
Met1
Camden1
Saint1
Christopher1
Spanish1
Seville1
Tomás2
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Saint"
4"Christopher"
5"Tomás"
places
0"Soho"
1"Raven"
2"London"
3"Market"
4"Seville"
globalScore1
windowScore1
89.02% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount2
matches
0"blade that seemed to drink the light around it"
1"looked like preserved animal hearts"
66.76% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.332
wordCount1501
matches
0"not a ladder, but a steep, narrow staircase carved from old, damp brick, desce"
1"not restraining, but a firm warning"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences117
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs32
mean46.91
std25.87
cv0.551
sampleLengths
066
156
218
398
491
56
639
712
871
925
1063
1158
1256
1337
1492
1526
1618
1765
1829
1933
2071
2151
2253
2332
2443
258
2646
2762
289
2936
3034
3197
89.46% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences111
matches
0"was swallowed"
1"was gone"
2"was connected"
3"was lost"
4"were struck"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs223
matches
0"wasn't helping"
1"was hiding"
45.18% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount0
flaggedSentences4
totalSentences117
ratio0.034
matches
0"A faint, strange smell wafted up—ozone, old parchment, and something metallic, like hot copper."
1"The ceiling was lost in shadow, but from it hung hundreds of mismatched lanterns—caged electric bulbs, flickering gaslights, glowing orbs that pulsed with a soft, internal light—casting a jittery, uneven illumination over the scene below."
2"She needed to move, to blend, but she was a lighthouse beam in a cave of shadows—a Met detective in a sober coat and sensible shoes in a world of silk, scales, and shadow."
3"The man—Tomás—followed her gaze and a frown creased his brow."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1388
adjectiveStacks2
stackExamples
0"short curly dark hair"
1"small, cloth-wrapped parcel."
adverbCount35
adverbRatio0.02521613832853026
lyAdverbCount9
lyAdverbRatio0.006484149855907781
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences117
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences117
mean12.83
std8.12
cv0.633
sampleLengths
025
118
24
319
420
515
621
714
84
921
1016
1123
129
136
1423
1527
167
1714
1821
1922
206
2113
2213
239
244
256
266
2718
2811
294
3016
314
322
332
342
3512
364
375
3812
394
409
4120
428
435
4421
459
465
479
4821
4914
42.74% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.3333333333333333
totalSentences117
uniqueOpeners39
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences106
matches(empty)
ratio0
42.64% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences106
matches
0"It blurred the green neon"
1"She’d picked up his trail"
2"He’d been a flicker in"
3"He didn't even flinch."
4"He vaulted a low iron"
5"He was faster, younger, but"
6"She’d walked them for eighteen"
7"She cut a diagonal across"
8"He took a hard right,"
9"He dropped to his knees"
10"He threw a panicked glance"
11"She stood alone in the"
12"Her radio crackled on her"
13"She keyed the mic, her"
14"He’d have felt the shift"
15"She holstered the radio."
16"She crouched, her fingers tracing"
17"Her instincts screamed at her"
18"She heaved it aside, the"
19"She drew her torch, the"
ratio0.443
26.04% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount92
totalSentences106
matches
0"The suspect’s shoulder slammed into"
1"Detective Harlow Quinn hurdled the"
2"The rain wasn't helping."
3"It blurred the green neon"
4"She’d picked up his trail"
5"He’d been a flicker in"
6"The command was swallowed by"
7"He didn't even flinch."
8"He vaulted a low iron"
9"Quinn followed, her movements sharp"
10"The alley was a canyon"
11"He was faster, younger, but"
12"She’d walked them for eighteen"
13"She cut a diagonal across"
14"He took a hard right,"
15"He dropped to his knees"
16"He threw a panicked glance"
17"The cover clanged shut behind"
18"Quinn skidded to a halt,"
19"She stood alone in the"
ratio0.868
94.34% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences106
matches
0"Now he was a blur"
1"If this was connected to"
ratio0.019
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount2
matches
0"He took a hard right, and for a heart-stopping second, she thought he’d ducked into one of the many illicit gambling dens that operated behind unmarked doors."
1"He shoved the parcel into his coat and bolted deeper into the market, towards a dark archway that promised even deeper, older tunnels."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"He took, his voice dropping to a conspiratorial murmur"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences13
tagDensity0.154
leniency0.308
rawRatio0
effectiveRatio0
79.7497%