Run: 2026-02-19-01KHTY0XPNMCQBK0H152SRAZV8

Run Details

Duration:
1m 40s
Cost:
$0.004425
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
Boots battered the metal stairs; Quinn shoulder‑charged the Veil Market’s back door and slid into the shadowed concourse. A body lounged across a crate, blood smeared in a neat ring around a circle drawn in ash on the flagstones. The air trembled with a quiet thrum, the market’s pulse thrumming beneath the concrete as if it hid a second heartbeat. The signal to come in had been simple enough: a body, a market that didn’t exist to most people, and a trail of signatures that didn’t quite align. The Veil Market moved locations every full moon, tucked away beneath Camden in an abandoned tube tunnel, a place reachable only by those who carried a bone token. Tonight, it had settled in a long, echoing platform where the ceiling sagged with damp and the echoes threaded themselves into the stalls like a nervous crowd. Quinn crouched beside the corpse, eyes tracing the ash circle. It looked deliberate, precise, the edges clean as if drawn with a fine reed. A single sigil lay at the circle’s heart, mirrored ink that barely glinted in the filtered glow of heat lamps. The body wore a utilitarian coat, cuff links dull as coins, and a leather brassard bearing a police service number—proof he hadn't wandered in by accident. The ring around the ash was a boundary, not a warning; it was a breadcrumb trail leading toward something other than a straightforward homicide. The market buzzed at a low, constant level, voices muttering, small deals being whispered, a scent like damp copper and old incense curled in the air. Quinn’s mind moved with the rhythm of a practiced drill: establish the scene, separate the suspect from the symptom, and hold the variables steady long enough to see what doesn’t fit. “Over there,” came a voice, clipped and clinical, from the far end of the platform. A lamp swung and threw a gold circle of light across a row of stalls that had seen better days—and better buyers. A man stood apart from the throng, head tilted, eyes narrowed, the habit of a man who’d spent years interpreting the room before anyone else could blink. DS Theo Simmonds, tall and lean, with a mop of dark hair and a voice that could cut through a room when he wanted attention, stepped closer to the corpse and collapsed the distance with a few quick, careful steps. “Quinn. You’ve got the usual suspects, but something’s off. The ash ring is pristine. No smudges, no smear of ash on the lip of the circle,” he said, eyes scanning the room with that trained habit of his—looking for what should be there and isn’t. Quinn rose, kept her hands loose at her sides. Her eyes, brown and sharp, considered the crowd before them—the quiet operators, the jittery glass‑eyed buyers, the ones who moved with that careful indifference that marked people who knew how to pretend they belonged anywhere. Her salt‑and‑pepper hair lay close to her scalp, a practical crown that signalled discipline more than fashion. Her left wrist wore a worn leather watch—an old piece that had seen too many stakeouts and too many hours of waiting. “We’ve got a body that looks staged and a room that looks lived in. A paradox, Simmonds. The kind of contradiction you only find when someone wants us to look at the wrong thing.” Her voice remained even, not loud, but the words carried with a clinical calm that had earned its place in the Met after eighteen years on the force. Simmonds gestured toward the corpse. “The committee would tell you it’s a ritual. The market’s own people talk in low tones about the clique and their sigils, their little games. They want us to think there’s a ritual, that someone used the market’s rules to trap him here.” He paused, letting the idea hang and weigh in the air. “If it’s ritual, I’d expect to see traces, something pent‑angle or a sigil carved into the ceiling, something that marks a signature. There’s nothing obvious of that kind.” Quinn scanned the surroundings again. The ash circle’s edge touched a wagon‑length of dust and footprints, but the marks seemed to come from the body’s position, not from a deliberate disturbance in the dust. A faint sap of something resinous clung to the air; a scent like burnt almonds and old books teased at the back of her throat. The market’s hum rose and fell in that rhythm that told her something was being hidden in plain sight. “Where’s the token?” she asked, and the question pulled a small fork of tension through Simmonds’ face. “Not on him, not in his pockets, not in the crate. Could be he never left the token with his person. Or someone else took it after.” He spoke quickly, as if listing options would force the truth out of the room. “Bone token to enter. It isn’t something you can counterfeit in five minutes,” Quinn insisted, the edge of command sharpening her tone. “If the token’s missing, someone wanted him here to stage something, not to steal something.” Simmonds allowed a tight smile to flicker across his mouth. “Or someone wanted him here to prove a point. Maybe the point is that the Veil Market isn’t the market you think it is. Maybe they want you to believe there’s a supernatural hand behind it.” Quinn looked away from him, letting her eyes find the stalls, the walls lined with crates and a web of cords and lamps. She noted the small, deliberate arrangement of objects on a nearby stall—a stack of old books tied with a string, a dagger with a bone handle laid flat across one corner of the stack, a single coin of brass resting on the leather of a satchel. None of it screamed “kidnapping” or “burglary.” It whispered of someone testing a theory, showing a scene that said: here is what you think; look closer at what I’m not telling you. Her attention landed on a small brass chunk that lay idly in the corner of the crate, half‑hidden by the shadow. It wasn’t currency; it was a fragment of a sigil, roughly carved, the same shape repeated along a narrow line of a fringe along the crate’s base. Her eyes narrowed. The item did not belong to the vive or to the scene; it belonged to someone else’s show. “Describe the walls,” she said after a moment, eyes still roaming. Simmonds frowned faintly at the directive, but obliged. “Brick, plaster gone soft in places. A lot of wood and canvas, for market stalls, you know the drill. There’s a corridor behind the stalls leading to nowhere, at least not to London’s normal streets. The crowd uses it to move under the market’s radar.” Quinn’s lips pressed into a line. The Veil Market’s hidden nature was not just a curiosity; it was a vulnerability. If someone knew how to slip into the hidden corridor, they’d know how to slip away from the crime. If she could map the path from the corridor into something else—an alternate route, a hidden door, a portal—she might see a way to catch whoever had betrayed him. Her gaze flicked toward a peculiar device resting on a table behind a stall—a Veil Compass, small brass, with a face etched with protective sigils. The needle wasn’t pointing toward a vessel or a weapon; it pointed toward the air, toward something nearly invisible—the nearest supernatural rift or portal, perhaps. The compass had a verdigris patina, as if decades of exposure to damp air, old secrets, and something else—something living—had worn it down and kept it alive. She stepped closer, her breath a quiet, measured exhale that fogged the edge of another world for a heartbeat. The Compass’ needle trembled, then settled, almost as if it recognised her. Or rather recognised the situation she stood in. The device wasn’t just a curiosity left by a hoarder; it was a tool, perhaps the only one in that room that hinted at the exact location of something the market wanted to hide. “Where did you find the compass?” she asked softly, not taking her eyes from the artefact. “Table near the entrance—one of the stalls selling old manuscripts and bone trinkets. It belonged to a vendor who died last year? No, he left. He moved on, but his stock stayed.” Simmonds turned toward the table and lifted the brass instrument with the careful reverence of someone who respected something fragile, something that could prove dangerous if it fell into the wrong hands. Quinn’s mind pressed on, a careful dish of ideas arranged, then shaken. The recorder in her head kept the events in order: the token; the circle; the sigil; the hidden corridor; the compass pointing somewhere beyond the obvious. A path existed here, one that led through the market’s own architecture, not merely through the streets outside. “Let’s test the theory,” she said, voice barely above a whisper. “If there’s a hidden door, we’ll find it. If there’s a portal—let’s see if the compass moves to it.” Simmonds opened his mouth to argue, then closed it again. He did not argue with her when she spoke with the ferocity of a drill sergeant, but he could still push back in a different way. He wouldn’t waste energy on a fight when a mistake could be fatal. “Fine. But I’ll be here to tell you when you’re wrong.” His tone suggested a trust in the observation of facts, not in hunches. Quinn set her jaw, accepting the challenge without words. She moved toward the back of the platform, stepping through the market’s dim hush with the careful, precise movements a woman used to in a high‑stakes environment. Her fingertips brushed along the crates and crates of curiosities—the kind the market sold to those who believed that knowledge itself could be purchased, sometimes with something more expensive than money. The corridor behind the stalls wasn’t well lit, and the scent grew heavier, a musk of old stone and something acrid, almost chemical. Quinn made a careful choice to follow the left-hand wall, keeping a few paces behind the stalls as if she were guiding a dance. The floor here was rough, uneven beneath the soles of her boots, and the walls bore a dozen layers of paint, each peeled away like a confession telling its own version of a crime. The market’s hum hummed behind her, a steady rhythm that never stopped. A draft fluttered through the corridor and teased a hanging tapestry. The tapestry parted to reveal a narrow door hidden within the wall, almost invisible unless you looked for it. The compass’s needle gave a quick, abrupt tilt toward the wall, then settled again as if the door was not yet ready to admit visitors. Quinn halted, eyes narrowing, listening to the faint sounds beyond. A soft rustle—no, more like a careful slide of fabric. Someone—or something—moved beyond the door. She clutched the handle of the Veil Compass, a small, stubborn coil of metal and hope in her palm. The compass hummed low in her grip, and the signal grew louder, more insistent, as if the device itself wanted her to step through. “We’re not alone,” Simmonds whispered, stepping closer. His breath carried a tremor. “If there’s a person on the other side, they’ll know we’re coming.” “Let them know,” Quinn replied, and there was a dangerous edge in that calm, as if she welcomed the brutal certainty of a confrontation. She pushed open the hidden door, slow and careful, so as not to betray the slightest tremor of fear. Beyond lay a narrow flight of stairs, leading down into a chamber the market used for more illicit activities—the restricted zones where a few insiders met to exchange information in the language of the occult and the practical, cruel economy of the city. The room was lit by a pale blue glow that didn’t come from any lamp Quinn recognised, and the air there tasted metallic and cold, with a scent that suggested old copper pipes and rain but without the rain. A figure stood in the centre of the chamber, half‑shrouded by a cloak, a bone token tucked into a chain around the neck, the token catching the light and glinting with a pale, almost ghostly gleam. The figure’s head turned toward them; two eyes looked out from the shadow, and the eyes held something neither man nor woman but something between—an observer who had watched a long time and learned to be patient. Quinn stepped through the door, Simmonds at her shoulder, the Veil Compass still in her grip. The two detectives faced a person whose presence reeked of a deal gone too far, a person who knew what the token meant, who understood what the market promised and what it required in return. “Who are you?” she asked, the question simple, the tone unyielding. The figure did not answer with words at first. The cloak shifted, and a gloved hand stretched out, palm up, revealing a second token, identical in shape to the one the victim might have carried. The hand moved a fraction, and the token clinked against the floor, rolling to the edge of Quinn’s boot. She bent and retrieved it, the metal cold against her finger, its bone composition unmistakable. “Another token,” Simmonds observed, voice low, careful. “A copy? A decoy? Or proof of entrance?” The cloaked figure stepped closer, the blue glow bright enough to reveal a face that wasn’t entirely unfamiliar, a face that seemed to belong to a person Quinn had read about in the Market’s whispering lore—someone who had eluded the direct gaze of the police for years, someone who had found a way to live in the shadow of the law and profit. “You came for answers,” the figure said, voice soft, almost kind, but with an edge that suggested a knife hidden in a sleeve. “You think you know what’s happening, Detective. You think the evidence tells a story you understand. You’re not yet listening.” Quinn’s eyes narrowed. “We’ll never know until we stop looking through the wrong end of the telescope.” Her voice stayed even, but there was a fire underneath that calm—a fire she kept shackled to reason, to evidence, to the discipline of the job. The figure shifted, and the blue glow intensified for a moment. A tremor shook the floor as though the very room had taken a breath. Quinn felt a shift in the atmosphere, as if the corridor itself had decided to reveal something it had kept buried. The Veil Compass in her hand thrummed, then throbbed with a pulse like a heartbeat against her palm. “The token is a key, not a badge,” the cloaked figure said, almost conversationally. “There are doors that require more than a possession to pass through. There are bonds that hold more than law in this city. And there are men who believe they can bend those bonds to their will.” Simmonds frowned, stepping between Quinn and the figure. “We’re talking about a crime, not a sermon.” The cloaked figure smiled, a thin, pale curve in the darkness. “Crimes have meanings, detective. Sometimes they point to a market that trades in secrets rather than coins. Look to the circle of ash. Look to the sigil’s shape.” The phrase sounded almost like a dare. Quinn inspected the circle again, her eyes following the ash’s precise line that formed a partial ellipse around the sigil at centre. The sigil’s shape was unfamiliar to her, yet she could feel its electric tension in the air, an energy that didn’t belong to any normal crime. It felt like a message left for someone who would understand—someone who knew there were authorities who could be misled by appearances. “And what have we missed?” she pressed, voice steady, eyes never leaving the unknown’s gaze. The figure’s cloak swayed as the person took a small step closer, enough that Quinn caught a glimpse of what lay beneath: a satchel, a stack of manuscripts, and the faint gleam of a blade sheathed at the hip. Not a weapon for a fight, but a symbol—an instrument of a long game in which the Market and its participants traded more than goods; they traded power, information, and the promise of escape from constraints that felt like cages. “Your partner, years ago,” the figure whispered suddenly, almost as if reading from a page that lay open in the night. “DS Morris. The case that broke you, the one you never quite solved. The one that had something supernatural at its edge. You carry that memory with you as a shield, but it also unlocks something you haven’t allowed yourself to see. The clique wasn’t the only thing involved.” The words struck Quinn with a jagged edge. She did not flinch, but her chest tightened, a reminder of a past that wouldn’t stay buried beneath the floorboards of the city. The cloaked figure lifted a hand, and from the sleeve the glow intensified—no weapon, but something sharper: a calm and patient invitation to step closer, to listen. The market’s hum felt louder, a chorus that suddenly included a voice with level, almost affectionate malice. “Be careful what you chase,” the figure said, and the voice had a ring of truth that cut deeper than a blade. “Chasing the obvious will only lead you into a trap. The evidence doesn’t add up because you’re not seeing the real network. The Veil Market isn’t just a market; it’s a map of what London chooses to forget.” Quinn’s mouth tightened at the corners. “We don’t forget. We document. We prosecute. We keep faith with the public.” “Then start listening to what the public won’t tell you directly,” the cloaked figure replied, drawing back just enough to let a shadow slide across the floor—a controlled, deliberate movement, as if someone had practiced this sacrament of entry and exit many times before. The spear of blue light faded, and the chamber returned to its quiet, electric calm. The figure stepped backward, retreating into the corridor, leaving behind an unsettled air and a token that lay on the floor between Quinn and the Marketplace’s most guarded truth. Quinn’s gaze found the token’s bone surface, still gleaming faintly in the blue glow. She picked it up with a gloved hand and tucked it into her pocket, next to the Veil Compass. The two artefacts—one a key to a doorway; the other a key to a rift—felt like twin mouths of a secret she had only begun to taste. Simmonds bent to retrieve the other token, rolling it between his fingers. “If what they say is true, this token isn’t about entry to a market or about a simple theft. It’s about control,” he muttered, almost to himself, then louder, “control of movement, control of information, control of fear.” Quinn nodded without looking away from the hidden door. The room’s blue glow faded to a pale, haunting glow that came from nowhere and everywhere at once, a sign that the market’s other side might be waking, might be listening. The compass’s needle trembled again, then steadied on a direction that pointed not toward the door but toward a wall of crates bearing the symbol of a sigil she hadn’t seen before. “Back to the platform,” she decided, voice steady. “We’ll photograph the sigil, document the circle, and test the theory that this is a staged ritual to obscure something else. We’ll check the market’s ledger, we’ll verify who had access last, who paid for the token, and who could afford to appear here tonight with a bone token and a satchel full of manuscripts that aren’t for sale.” Simmonds straightened, a flicker of relief crossing his features at the familiar cadence of procedure. “Right, and I’ll bring in forensics. If there’s a trick here, it will show in the prints and the residue.” Quinn turned toward the corridor, then paused. The market’s hum rose again, but it carried a different timbre now—one that hinted that the place was listening, not just watching. “Keep the crowd restricted,” she said, her voice low and controlled. “Don’t let rumours slip into this. If the Market’s told us anything, it’s that people who trade in rumours make themselves too easy to read.” The two detectives retreated to the platform, the hidden door closing softly behind them with a sigh that sounded almost like a breath exhaled from the city itself. The Veil Compass remained in Quinn’s hand, its face etched with sigils catching the dim light. The bone token lay cool in the pocket, a reminder that tonight the evidence did not merely point to one answer; it suggested the existence of a map—one drawn in ash, one etched in bone, and one that only the patient could read. As they moved toward the nearest work table, a shadow shifted in the telescope of the market’s far edge, where the crowd’s murmur rose to a murmur of a new concern. A whispered footnote in the Market’s quiet ledger: someone else had entered, unseen, carrying a second token, a copy of the token that no one had noticed before. And the clue slept on the edge of Quinn’s thoughts, waiting to be woken by the right question, the right moment. The clockwork of the night clicked on, delicate and unforgiving. Quinn caught Simmonds’ eye and held it for a split second longer than necessary, enough to pass a message: we’re chasing a thing that doesn’t want to be found, and the first fault line is right here, between the tokens and the door. Then a footstep sounded behind them, careful and precise, as if someone had learned how to walk in a place where footsteps could be listened to and remembered. A figure detached from the crowd, moved toward them with the measured calm of someone who knew the markets as well as the law knew the city. The figure paused, catching sight of the compass, the token, the circle, the sigil. The figure’s breath caught in a moment of recognition, and the room seemed to lean closer, listening. In that leaned‑in moment, the lights dimmed once more, and the air tightened around them with a weight that pressed on the edges of their awareness. Quinn’s hand tightened on the Veil Compass, the needle’s whisper turning into a throb against her skin. The shell of this crime had begun to crack, and the secrets behind it—secrets that stretched into memory and a city’s oldest bargains—waited, patient, hungry, for the moment when someone finally asked the right question. Then, as if answering a question no one had dared to pose aloud, a figure rose from the deeper shadow beyond the crates, stepping into the pale blue glow with a slow, inexorable resolve. The room seemed to exhale, the crowd of voices fading to a whisper, and the market’s heartbeat answered with a sudden, dangerous stillness. The next moment would decide whether the storm would pass or break, and Quinn, with the bone token in her pocket and the Veil Compass warm against her grip, prepared to push the question harder than anyone in attendance had expected. The fan of fear rose, and with it, the threshold—into the unknown—and something happened that forced the city to listen, right now.
created_at"2026-02-19T12:29:30.716Z" 2/19/2026, 12:29:30 PM
model"openai/gpt-5-nano-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5978
moderation_latency(null)
generation_time99424
tokens_prompt4671
tokens_completion7013
native_tokens_prompt4157
native_tokens_completion10543
native_tokens_completion_images0
native_tokens_reasoning5632
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"completed"
usage0.00442505
router(null)
provider_responses
0
endpoint_id"50329d77-04e1-4979-a184-c33030289476"
id"resp_0d030c8432549120016997022ac87081978c43eebaba2ae237"
is_byokfalse
latency122
model_permaslug"openai/gpt-5-nano-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504170-mOqtD6fuRsrIXnp0E3AV"
upstream_id"resp_0d030c8432549120016997022ac87081978c43eebaba2ae237"
total_cost0.00442505
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
62.07% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags29
adverbTagCount4
adverbTags
0"He spoke quickly [quickly]"
1"she asked softly [softly]"
2"The phrase sounded almost [almost]"
3"the figure whispered suddenly [suddenly]"
dialogueSentences44
tagDensity0.659
leniency1
rawRatio0.138
effectiveRatio0.138
91.09% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3927
totalAiIsmAdverbs7
found
0
adverb"quickly"
count1
1
adverb"softly"
count2
2
adverb"barely above a whisper"
count1
3
adverb"very"
count1
4
adverb"suddenly"
count2
highlights
0"quickly"
1"softly"
2"barely above a whisper"
3"very"
4"suddenly"
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)
43.98% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3927
totalAiIsms44
found
0
word"charged"
count1
1
word"trembled"
count3
2
word"pulse"
count2
3
word"echoing"
count1
4
word"echoes"
count1
5
word"tracing"
count1
6
word"variables"
count1
7
word"pristine"
count1
8
word"scanning"
count1
9
word"scanned"
count1
10
word"tension"
count2
11
word"flicker"
count2
12
word"flicked"
count1
13
word"etched"
count3
14
word"measured"
count2
15
word"whisper"
count3
16
word"dance"
count1
17
word"fluttered"
count1
18
word"tapestry"
count2
19
word"glinting"
count1
20
word"throbbed"
count1
21
word"could feel"
count1
22
word"electric"
count2
23
word"reminder"
count2
24
word"unsettled"
count1
25
word"gleaming"
count1
26
word"familiar"
count1
27
word"footsteps"
count1
28
word"weight"
count1
29
word"throb"
count1
30
word"resolve"
count1
highlights
0"charged"
1"trembled"
2"pulse"
3"echoing"
4"echoes"
5"tracing"
6"variables"
7"pristine"
8"scanning"
9"scanned"
10"tension"
11"flicker"
12"flicked"
13"etched"
14"measured"
15"whisper"
16"dance"
17"fluttered"
18"tapestry"
19"glinting"
20"throbbed"
21"could feel"
22"electric"
23"reminder"
24"unsettled"
25"gleaming"
26"familiar"
27"footsteps"
28"weight"
29"throb"
30"resolve"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow2
found
0
label"eyes widened/narrowed"
count3
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences154
matches
0"a flicker of relief"
87.20% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount4
narrationSentences154
filterMatches
0"watch"
1"think"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences170
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen65
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords3892
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions34
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions74
wordCount3071
uniqueNames9
maxNameDensity1.07
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Quinn33
Veil11
Market6
Camden1
Theo1
Simmonds12
Met1
Compass8
Marketplace1
persons
0"Quinn"
1"Market"
2"Theo"
3"Simmonds"
4"Compass"
5"Marketplace"
places
0"Veil"
1"Met"
globalScore0.963
windowScore0.833
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences143
glossingSentenceCount9
matches
0"quite align"
1"as if listing options would force the truth out of the room"
2"something between—an observer who had watched a"
3"face that seemed to belong to a person Quinn had read about in the Market’s whispering lore—someone who had eluded the direct gaze of the police for years, someone who had found a way to live in the shadow of the law and profit"
4"felt like a message left for someone wh"
5"felt like cages"
6"as if reading from a page that lay open in the night"
7"felt like twin mouths of a secret she h"
8"as if answering a question no one had dared to pose aloud, a figure rose from the deeper shadow beyond the crates, stepping into the pale blue glow with a slow, inexorable resolve"
71.53% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords1.285
wordCount3892
matches
0"not loud, but the words carried with a clinical calm"
1"neither man nor"
2"Not a weapon for a fight, but a symbol"
3"not flinch, but her chest tightened, a reminder of a past"
4"not toward the door but toward a wall of crates bearing the symbol of a sigil she ha"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences170
matches
0"believed that knowledge"
1"hinted that the"
81.28% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean56.41
std24.51
cv0.434
sampleLengths
060
183
294
357
4104
545
683
762
887
978
1017
1142
1237
1346
14101
1569
1611
1753
1868
1977
2073
2116
2264
2356
2430
2549
2624
2767
2893
2955
3068
3124
3243
3382
3473
3551
3611
3769
3815
3963
4043
4143
4264
4351
4416
4546
4670
4715
4879
4970
98.43% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences154
matches
0"being whispered"
1"being hidden"
2"was lit"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs462
matches
0"wasn’t pointing"
1"were guiding"
2"was listening"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount32
semicolonCount18
flaggedSentences36
totalSentences170
ratio0.212
matches
0"Boots battered the metal stairs; Quinn shoulder‑charged the Veil Market’s back door and slid into the shadowed concourse."
1"The body wore a utilitarian coat, cuff links dull as coins, and a leather brassard bearing a police service number—proof he hadn't wandered in by accident."
2"The ring around the ash was a boundary, not a warning; it was a breadcrumb trail leading toward something other than a straightforward homicide."
3"A lamp swung and threw a gold circle of light across a row of stalls that had seen better days—and better buyers."
4"“Quinn. You’ve got the usual suspects, but something’s off. The ash ring is pristine. No smudges, no smear of ash on the lip of the circle,” he said, eyes scanning the room with that trained habit of his—looking for what should be there and isn’t."
5"Her eyes, brown and sharp, considered the crowd before them—the quiet operators, the jittery glass‑eyed buyers, the ones who moved with that careful indifference that marked people who knew how to pretend they belonged anywhere."
6"Her left wrist wore a worn leather watch—an old piece that had seen too many stakeouts and too many hours of waiting."
7"A faint sap of something resinous clung to the air; a scent like burnt almonds and old books teased at the back of her throat."
8"She noted the small, deliberate arrangement of objects on a nearby stall—a stack of old books tied with a string, a dagger with a bone handle laid flat across one corner of the stack, a single coin of brass resting on the leather of a satchel."
9"None of it screamed “kidnapping” or “burglary.” It whispered of someone testing a theory, showing a scene that said: here is what you think; look closer at what I’m not telling you."
10"It wasn’t currency; it was a fragment of a sigil, roughly carved, the same shape repeated along a narrow line of a fringe along the crate’s base."
11"The item did not belong to the vive or to the scene; it belonged to someone else’s show."
12"The Veil Market’s hidden nature was not just a curiosity; it was a vulnerability."
13"If she could map the path from the corridor into something else—an alternate route, a hidden door, a portal—she might see a way to catch whoever had betrayed him."
14"Her gaze flicked toward a peculiar device resting on a table behind a stall—a Veil Compass, small brass, with a face etched with protective sigils."
15"The needle wasn’t pointing toward a vessel or a weapon; it pointed toward the air, toward something nearly invisible—the nearest supernatural rift or portal, perhaps."
16"The compass had a verdigris patina, as if decades of exposure to damp air, old secrets, and something else—something living—had worn it down and kept it alive."
17"The device wasn’t just a curiosity left by a hoarder; it was a tool, perhaps the only one in that room that hinted at the exact location of something the market wanted to hide."
18"The recorder in her head kept the events in order: the token; the circle; the sigil; the hidden corridor; the compass pointing somewhere beyond the obvious."
19"Her fingertips brushed along the crates and crates of curiosities—the kind the market sold to those who believed that knowledge itself could be purchased, sometimes with something more expensive than money."
20"A soft rustle—no, more like a careful slide of fabric."
21"Someone—or something—moved beyond the door."
22"Beyond lay a narrow flight of stairs, leading down into a chamber the market used for more illicit activities—the restricted zones where a few insiders met to exchange information in the language of the occult and the practical, cruel economy of the city."
23"The figure’s head turned toward them; two eyes looked out from the shadow, and the eyes held something neither man nor woman but something between—an observer who had watched a long time and learned to be patient."
24"The cloaked figure stepped closer, the blue glow bright enough to reveal a face that wasn’t entirely unfamiliar, a face that seemed to belong to a person Quinn had read about in the Market’s whispering lore—someone who had eluded the direct gaze of the police for years, someone who had found a way to live in the shadow of the law and profit."
25"“We’ll never know until we stop looking through the wrong end of the telescope.” Her voice stayed even, but there was a fire underneath that calm—a fire she kept shackled to reason, to evidence, to the discipline of the job."
26"It felt like a message left for someone who would understand—someone who knew there were authorities who could be misled by appearances."
27"Not a weapon for a fight, but a symbol—an instrument of a long game in which the Market and its participants traded more than goods; they traded power, information, and the promise of escape from constraints that felt like cages."
28"The cloaked figure lifted a hand, and from the sleeve the glow intensified—no weapon, but something sharper: a calm and patient invitation to step closer, to listen."
29"“Chasing the obvious will only lead you into a trap. The evidence doesn’t add up because you’re not seeing the real network. The Veil Market isn’t just a market; it’s a map of what London chooses to forget.”"
30"“Then start listening to what the public won’t tell you directly,” the cloaked figure replied, drawing back just enough to let a shadow slide across the floor—a controlled, deliberate movement, as if someone had practiced this sacrament of entry and exit many times before."
31"The two artefacts—one a key to a doorway; the other a key to a rift—felt like twin mouths of a secret she had only begun to taste."
32"The market’s hum rose again, but it carried a different timbre now—one that hinted that the place was listening, not just watching."
33"The bone token lay cool in the pocket, a reminder that tonight the evidence did not merely point to one answer; it suggested the existence of a map—one drawn in ash, one etched in bone, and one that only the patient could read."
34"The shell of this crime had begun to crack, and the secrets behind it—secrets that stretched into memory and a city’s oldest bargains—waited, patient, hungry, for the moment when someone finally asked the right question."
35"The fan of fear rose, and with it, the threshold—into the unknown—and something happened that forced the city to listen, right now."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1192
adjectiveStacks0
stackExamples(empty)
adverbCount29
adverbRatio0.024328859060402684
lyAdverbCount4
lyAdverbRatio0.003355704697986577
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences170
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences170
mean22.89
std12.38
cv0.541
sampleLengths
018
121
221
328
428
527
610
714
820
926
1024
1126
1231
1315
1422
1527
1640
1745
189
1935
2017
2122
2262
235
2454
2528
265
2729
2825
2919
3017
3142
3222
3315
3410
3536
3623
3746
3832
3921
4027
413
4218
4311
448
4545
466
4714
4819
4929
35.29% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats25
diversityRatio0.2529411764705882
totalSentences170
uniqueOpeners43
43.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences152
matches
0"Then a footstep sounded behind"
1"Then, as if answering a"
ratio0.013
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences152
matches
0"It looked deliberate, precise, the"
1"he said, eyes scanning the"
2"Her eyes, brown and sharp,"
3"Her salt‑and‑pepper hair lay close"
4"Her left wrist wore a"
5"Her voice remained even, not"
6"He paused, letting the idea"
7"she asked, and the question"
8"He spoke quickly, as if"
9"She noted the small, deliberate"
10"Her attention landed on a"
11"It wasn’t currency; it was"
12"Her eyes narrowed."
13"she said after a moment,"
14"Her gaze flicked toward a"
15"She stepped closer, her breath"
16"she asked softly, not taking"
17"she said, voice barely above"
18"He did not argue with"
19"He wouldn’t waste energy on"
ratio0.237
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount141
totalSentences152
matches
0"Boots battered the metal stairs;"
1"A body lounged across a"
2"The air trembled with a"
3"The signal to come in"
4"The Veil Market moved locations"
5"Tonight, it had settled in"
6"Quinn crouched beside the corpse,"
7"It looked deliberate, precise, the"
8"A single sigil lay at"
9"The body wore a utilitarian"
10"The ring around the ash"
11"The market buzzed at a"
12"Quinn’s mind moved with the"
13"A lamp swung and threw"
14"A man stood apart from"
15"DS Theo Simmonds, tall and"
16"he said, eyes scanning the"
17"Quinn rose, kept her hands"
18"Her eyes, brown and sharp,"
19"Her salt‑and‑pepper hair lay close"
ratio0.928
65.79% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences152
matches
0"If someone knew how to"
1"If she could map the"
ratio0.013
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences107
technicalSentenceCount23
matches
0"The air trembled with a quiet thrum, the market’s pulse thrumming beneath the concrete as if it hid a second heartbeat."
1"It looked deliberate, precise, the edges clean as if drawn with a fine reed."
2"A lamp swung and threw a gold circle of light across a row of stalls that had seen better days—and better buyers."
3"DS Theo Simmonds, tall and lean, with a mop of dark hair and a voice that could cut through a room when he wanted attention, stepped closer to the corpse and co…"
4"Her eyes, brown and sharp, considered the crowd before them—the quiet operators, the jittery glass‑eyed buyers, the ones who moved with that careful indifferenc…"
5"Her salt‑and‑pepper hair lay close to her scalp, a practical crown that signalled discipline more than fashion."
6"Her left wrist wore a worn leather watch—an old piece that had seen too many stakeouts and too many hours of waiting."
7"The compass had a verdigris patina, as if decades of exposure to damp air, old secrets, and something else—something living—had worn it down and kept it alive."
8"She stepped closer, her breath a quiet, measured exhale that fogged the edge of another world for a heartbeat."
9"Quinn made a careful choice to follow the left-hand wall, keeping a few paces behind the stalls as if she were guiding a dance."
10"The compass’s needle gave a quick, abrupt tilt toward the wall, then settled again as if the door was not yet ready to admit visitors."
11"The compass hummed low in her grip, and the signal grew louder, more insistent, as if the device itself wanted her to step through."
12"The room was lit by a pale blue glow that didn’t come from any lamp Quinn recognised, and the air there tasted metallic and cold, with a scent that suggested ol…"
13"The figure’s head turned toward them; two eyes looked out from the shadow, and the eyes held something neither man nor woman but something between—an observer w…"
14"The cloaked figure stepped closer, the blue glow bright enough to reveal a face that wasn’t entirely unfamiliar, a face that seemed to belong to a person Quinn …"
15"Quinn inspected the circle again, her eyes following the ash’s precise line that formed a partial ellipse around the sigil at centre."
16"The sigil’s shape was unfamiliar to her, yet she could feel its electric tension in the air, an energy that didn’t belong to any normal crime."
17"Not a weapon for a fight, but a symbol—an instrument of a long game in which the Market and its participants traded more than goods; they traded power, informat…"
18"The room’s blue glow faded to a pale, haunting glow that came from nowhere and everywhere at once, a sign that the market’s other side might be waking, might be…"
19"The two detectives retreated to the platform, the hidden door closing softly behind them with a sigh that sounded almost like a breath exhaled from the city its…"
20"Then a footstep sounded behind them, careful and precise, as if someone had learned how to walk in a place where footsteps could be listened to and remembered."
21"The shell of this crime had begun to crack, and the secrets behind it—secrets that stretched into memory and a city’s oldest bargains—waited, patient, hungry, f…"
22"Then, as if answering a question no one had dared to pose aloud, a figure rose from the deeper shadow beyond the crates, stepping into the pale blue glow with a…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount12
matches
0"she asked, and the question pulled a small fork of tension through Simmonds’ face"
1"He spoke quickly, as if listing options would force the truth out of the room"
2"Quinn insisted, the edge of command sharpening her tone"
3"she said, eyes still roaming"
4"she asked softly, not taking her eyes from the artefact"
5"she said, voice barely above a whisper"
6"Simmonds observed, voice low, careful"
7"she pressed, voice steady, eyes never leaving the unknown’s gaze"
8"the figure said, and the voice had a ring of truth that cut deeper than a blade"
9"he muttered, almost to himself, then louder,"
10"she decided, voice steady"
11"she said, her voice low and controlled"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags21
fancyCount9
fancyTags
0"He spoke quickly (speak)"
1"Quinn insisted (insist)"
2"it screamed (scream)"
3"His tone suggested (suggest)"
4"Simmonds whispered (whisper)"
5"Simmonds observed (observe)"
6"she pressed (press)"
7"the figure whispered suddenly (whisper)"
8"he muttered (mutter)"
dialogueSentences44
tagDensity0.477
leniency0.955
rawRatio0.429
effectiveRatio0.409
67.6840%