Run: 2026-02-19-01KHTY29VZ245B222TBWFJMRAD

Run Details

Duration:
18.4s
Cost:
$0.008691
Provider:
Google AI Studio

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
The brass needle of the Veil Compass spun in a frenetic, nauseating circle before snapping toward the waterlogged platform of the South Kentish Town station. It didn't point north. It pointed at the slumped, greyish mass huddled against the rusted Victorian tiling. "Keep that trinket out of sight, Quinn. Forensics are twitchy enough as it is." Harlow Quinn snapped the small brass lid shut, the click echoing through the vaulted, tile-lined silence of the abandoned Tube station. She ignored the warning. Her worn leather watch marked the time as three minutes past midnight. The air down here tasted of ozone and ancient, damp soot, a cloying grit that settled on the tongue like graveyard dirt. "Tell me why I was pulled out of a warm bed for a vagrant's overdose, Miller." Detective Inspector Miller stood by the tracks, his silhouette framed by the harsh, artificial glare of a portable halogen work light. He gestured vaguely at the body. "Not a vagrant. Look at the shoes." Harlow stepped over a puddle of oily, iridescent water. She crouched beside the corpse, her joints popping in the subterranean quiet. Miller was right. The man wore bespoke Italian loafers, ruined now by the muck of the tunnels, but still screaming of Mayfair wages. His suit was charcoal silk, tailored to a sharp, athletic frame that had recently withered. "He looks like he’s been dead for months," Harlow muttered. She didn't touch him yet. She studied the skin. It wasn't rot. It was desiccation. The flesh clung to the bone like shrink-wrapped parchment, turned a bruised, metallic violet. "Pathologist says twelve hours. Max." Miller chewed on a piece of nicotine gum, the rhythmic smacking sound rhythmic and grating. "Heart failure. Sudden. Violent. The bruising is just... lividity, apparently." "Lividity doesn't turn a man the colour of a bad sunrise," Harlow countered. She leaned closer, her sharp jaw tightening. She spotted it then—a faint, jagged line trailing from the man's throat down into his collar. She reached out with a gloved hand and shifted the silk tie. "Miller. Look." "I've seen it. Fungal growth. Common in damp disused tunnels." "Fungi don't grow in geometric patterns." The markings weren't blisters or mould. They were etched into the skin, a series of interconnected, triangular sigils that pulsated with a faint, dying amber light. "I don't see any patterns," Miller said. He stepped closer, squinting. "Just looks like a rash. You’re seeing ghosts again, Quinn. Ever since Morris..." Harlow stood up abruptly, her 5'9" frame casting a long, jagged shadow against the emerald-green tiling. The mention of her old partner acted like a physical blow, a cold spike of grief and fury she kept buried under military precision. "Morris saw exactly what was coming for him. And so do I. This man didn't die of heart failure. He was harvested." "Harvested." Miller snorted, the sound damp and phlegm-heavy. "Right. By the Camden tunnel-elves, I suppose? It’s a drug overdose, Harlow. New synthetic. Causes rapid dehydration and vascular collapse. We found a small bone carving in his pocket. Probably a pipe." Harlow’s hand went instinctively to her pocket, feeling the cold weight of her own bone token—the heavy, jagged coin needed to enter the Veil Market. "Where is the carving?" "Evidence bag. Forensics took it up five minutes ago." Harlow turned away from the body, her eyes roaming the platform. The South Kentish Town station had been closed since 1924, a ghost in the belly of London. Usually, it was a tomb for dust and silence. Today, it felt electric. Her skin pricked. She walked toward the edge of the platform, where the gloom swallowed the halogen light. There, tucked behind a rusted signal box, sat a small, battered leather satchel. It was out of place—too academic, too worn for a man in Italian loafers. She knelt, unbuckling the brass clasp. "Quinn! Don't touch that until the scene's mapped!" She ignored him. Inside the satchel lay a stack of vellum pages, a silver-cased magnifying glass, and a photograph. She pulled the photo out. It showed a young woman with curly red hair and round glasses, smiling nervously while clutching a stack of books in front of the British Museum. "Eva," Harlow whispered. She knew that face. Eva Kowalski. The researcher she’d been tracking for months. If Eva’s satchel was here, the "overdose" wasn't a random tragedy. It was a transaction gone wrong. Harlow felt the Compass in her pocket vibrate. Not a snap, but a low, rhythmic hum that synchronised with her own heartbeat. She pulled it out, shielding the face with her palm. The needle was no longer spinning. It was vibrating violently, pointing toward the dark mouth of the northbound tunnel. "Move the lights," Harlow commanded. "What? We’re processing the primary site, Quinn." "The primary site is a diversion. Look at the dust, Miller. Use your eyes for once." She pointed her torch at the ground near the tracks. The thick, grey silt of decades had been disturbed, but not by footsteps. Long, sweeping arcs marred the surface, as if something heavy and soft had been dragged toward the darkness. And between the arcs, small, pinpoint droplets of that same metallic violet fluid. "He didn't walk here," Harlow said. "He was dumped here from the tracks. Something came out of the tunnel, left him on the platform, and went back in." "Nothing’s been through these tunnels since the thirties, Harlow. The tracks are dead." A low, metallic groan echoed from deep within the northbound tunnel. It wasn't the sound of a train. It was the sound of iron being bent by something immense and leisurely. "The tracks are never dead," Harlow said, her voice dropping to a low, dangerous velvet. She stepped off the platform, her boots crunching on the soot-covered sleepers. The darkness ahead was absolute, a hungry throat waiting to swallow the light of her torch. "Quinn, get back up here! That’s an active safety hazard!" She didn't stop. Ten paces into the tunnel, the temperature plummeted. Her breath hitched in the air, a white plume of frost. The walls here weren't brick anymore. They were coated in a thick, translucent resin that smelled like honey and rotting meat. She shone her light upward. The ceiling was festooned with cocoons. Hundreds of them. Some were small, the size of a fist. Others were the size of a man. One particular cocoon, hanging directly above the centre of the tracks, was shivering. A pale, freckled hand poked through a tear in the resin, the fingers twitching in a frantic, silent plea. "Eva," Harlow breathed, her hand reaching for her service weapon. A wet, sliding sound came from the shadows behind her. Harlow spun, her torch beam cutting through the gloom. It wasn't a person. It was a mass of shifting, iridescent shadows, a Shade artisan from the Market, its limbs elongated and multi-jointed like a spider’s. In its uppermost hand, it gripped a long, curved needle made of human ivory. "The Detective," the thing hissed, its voice like dry leaves skittering over pavement. "You have the token, but you do not have the invitation." "I have a badge and a very short temper," Harlow snapped, her thumb clicking the safety off. "Lower her. Now." The creature tilted its head, its eyes two pits of swirling, violet smoke. It gestured with the ivory needle toward the cocooned researcher. "She paid in secrets. But secrets are light. We require... substance. Balance." "I'm not interested in your ledger," Harlow said, stepping forward. The Shade moved with sickening fluid grace, its body stretching until its face was inches from hers. It smelled of burnt sugar and old parchment. "Then pay the difference, Harlow Quinn. Tell me what happened to Morris in the dark, and the girl lives." The name hit like a gunshot. Harlow’s finger tightened on the trigger, her knuckles white. Behind her, out on the platform, she heard Miller’s heavy footsteps approaching the tunnel entrance. "Stay back, Miller!" she screamed, but it was too late. The halogen light from the platform caught the edge of the resin-coated walls, and the cocoons above began to pulse in unison, a hundred tiny hearts beating against the silence. The Shade grinned, revealing rows of needle-thin teeth. "Decide," the creature whispered. "The truth, or the girl?" The ceiling groaned. The resin holding Eva Kowalski to the roof began to tear. Harlow looked from the shaking cocoon to the monster's smoke-filled eyes, then back toward the light of the "real" world where Miller stood, oblivious, with a hand on his holster. The Compass in her pocket burst into a searing, white-hot heat. Harlow didn't pull the trigger. Instead, she reached into her satchel and pulled out the bone token, snapping it in half between her fingers. The sound wasn't a crack. It was a roar. The tunnel walls dissolved into a swirling vortex of grey mist and screaming wind, the emerald tiles of the station flying away like autumn leaves. "I’m not paying with a story," Harlow growled, lunging into the mist. "I’m closing the account." The Shade let out a shriek that shattered the magnifying glass in Eva's satchel, and the floor beneath Harlow’s feet simply ceased to exist.
created_at"2026-02-19T12:30:15.946Z" 2/19/2026, 12:30:15 PM
model"google/gemini-3-flash-preview-20251217"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency902
moderation_latency(null)
generation_time18361
tokens_prompt4671
tokens_completion2419
native_tokens_prompt4537
native_tokens_completion2141
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
usage0.0086915
router(null)
provider_responses
0
endpoint_id"6e82f652-2693-4b60-bbe0-7362d6e345f0"
is_byokfalse
latency902
model_permaslug"google/gemini-3-flash-preview-20251217"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504215-W1z2KtGteaLcrecOZS8h"
upstream_id(null)
total_cost0.0086915
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags23
adverbTagCount0
adverbTags(empty)
dialogueSentences49
tagDensity0.469
leniency0.939
rawRatio0
effectiveRatio0
93.55% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1550
totalAiIsmAdverbs2
found
0
adverb"nervously"
count1
1
adverb"very"
count1
highlights
0"nervously"
1"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)
29.03% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1550
totalAiIsms22
found
0
word"echoing"
count1
1
word"silence"
count3
2
word"silk"
count2
3
word"rhythmic"
count3
4
word"etched"
count1
5
word"synthetic"
count1
6
word"weight"
count1
7
word"electric"
count1
8
word"gloom"
count2
9
word"footsteps"
count2
10
word"echoed"
count1
11
word"velvet"
count1
12
word"pulse"
count1
13
word"searing"
count1
14
word"shattered"
count1
highlights
0"echoing"
1"silence"
2"silk"
3"rhythmic"
4"etched"
5"synthetic"
6"weight"
7"electric"
8"gloom"
9"footsteps"
10"echoed"
11"velvet"
12"pulse"
13"searing"
14"shattered"
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
narrationSentences86
matches(empty)
76.41% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences86
filterMatches
0"watch"
hedgeMatches
0"happened to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences106
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen54
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1536
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
62.84% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions66
wordCount1262
uniqueNames23
maxNameDensity1.74
worstName"Harlow"
maxWindowNameDensity2.5
worstWindowName"Harlow"
discoveredNames
Veil2
Compass3
South2
Kentish2
Town2
Victorian1
Quinn1
Tube1
Inspector1
Miller8
Italian2
Mayfair1
Harlow22
Camden1
Market2
London1
British1
Museum1
Kowalski2
Eva4
Look1
Shade4
Morris1
persons
0"Compass"
1"Victorian"
2"Quinn"
3"Inspector"
4"Miller"
5"Harlow"
6"Kowalski"
7"Eva"
8"Shade"
9"Morris"
places
0"South"
1"Kentish"
2"Town"
3"Italian"
4"Market"
5"London"
globalScore0.628
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences56
glossingSentenceCount1
matches
0"smelled like honey and rotting meat"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.651
wordCount1536
matches
0"Not a snap, but a low, rhythmic hum"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences106
matches
0"knew that face"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs62
mean24.77
std14.91
cv0.602
sampleLengths
042
114
259
316
427
57
659
739
830
913
1035
112
1210
136
1426
1524
1640
1722
1840
1925
204
219
2244
2342
246
258
2650
273
2830
2951
305
317
3216
3354
3428
3513
3631
3715
3828
3910
4043
4129
4232
4310
4419
4540
4624
4720
4823
4912
84.86% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences86
matches
0"were etched"
1"been closed"
2"been disturbed"
3"been dragged"
4"were coated"
5"was festooned"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs211
matches
0"was vibrating"
1"was shivering"
61.99% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences3
totalSentences106
ratio0.028
matches
0"She spotted it then—a faint, jagged line trailing from the man's throat down into his collar."
1"Harlow’s hand went instinctively to her pocket, feeling the cold weight of her own bone token—the heavy, jagged coin needed to enter the Veil Market."
2"She walked toward the edge of the platform, where the gloom swallowed the halogen light. There, tucked behind a rusted signal box, sat a small, battered leather satchel. It was out of place—too academic, too worn for a man in Italian loafers."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount498
adjectiveStacks0
stackExamples(empty)
adverbCount9
adverbRatio0.018072289156626505
lyAdverbCount6
lyAdverbRatio0.012048192771084338
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences106
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences106
mean14.49
std12.93
cv0.892
sampleLengths
025
14
213
314
421
54
612
722
816
921
106
117
129
1312
143
1520
1615
1710
185
194
203
213
2214
2320
2410
2513
267
2716
2812
292
3010
316
326
3320
347
354
3613
3740
388
394
407
413
429
436
445
452
466
479
483
4925
70.13% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4716981132075472
totalSentences106
uniqueOpeners50
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences75
matches(empty)
ratio0
65.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences75
matches
0"It didn't point north."
1"It pointed at the slumped,"
2"She ignored the warning."
3"Her worn leather watch marked"
4"He gestured vaguely at the"
5"She crouched beside the corpse,"
6"His suit was charcoal silk,"
7"She didn't touch him yet."
8"She studied the skin."
9"It wasn't rot."
10"It was desiccation."
11"She leaned closer, her sharp"
12"She spotted it then—a faint,"
13"She reached out with a"
14"They were etched into the"
15"He stepped closer, squinting."
16"It’s a drug overdose, Harlow."
17"We found a small bone"
18"She walked toward the edge"
19"She knelt, unbuckling the brass"
ratio0.387
13.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount67
totalSentences75
matches
0"The brass needle of the"
1"It didn't point north."
2"It pointed at the slumped,"
3"Harlow Quinn snapped the small"
4"She ignored the warning."
5"Her worn leather watch marked"
6"The air down here tasted"
7"Detective Inspector Miller stood by"
8"He gestured vaguely at the"
9"Harlow stepped over a puddle"
10"She crouched beside the corpse,"
11"Miller was right."
12"The man wore bespoke Italian"
13"His suit was charcoal silk,"
14"She didn't touch him yet."
15"She studied the skin."
16"It wasn't rot."
17"It was desiccation."
18"The flesh clung to the"
19"Miller chewed on a piece"
ratio0.893
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences75
matches(empty)
ratio0
12.99% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences33
technicalSentenceCount6
matches
0"The air down here tasted of ozone and ancient, damp soot, a cloying grit that settled on the tongue like graveyard dirt."
1"They were etched into the skin, a series of interconnected, triangular sigils that pulsated with a faint, dying amber light."
2"Harlow felt the Compass in her pocket vibrate. Not a snap, but a low, rhythmic hum that synchronised with her own heartbeat. She pulled it out, shielding the fa…"
3"She pointed her torch at the ground near the tracks. The thick, grey silt of decades had been disturbed, but not by footsteps. Long, sweeping arcs marred the su…"
4"She didn't stop. Ten paces into the tunnel, the temperature plummeted. Her breath hitched in the air, a white plume of frost. The walls here weren't brick anymo…"
5"The Shade let out a shriek that shattered the magnifying glass in Eva's satchel, and the floor beneath Harlow’s feet simply ceased to exist."
56.82% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount3
matches
0"Harlow said, her voice dropping to a low, dangerous velvet"
1"Harlow breathed, her hand reaching for her service weapon"
2"Harlow snapped, her thumb clicking the safety off"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount10
fancyTags
0"Harlow muttered (mutter)"
1"Harlow whispered (whisper)"
2"Harlow breathed (breathe)"
3"the thing hissed (hiss)"
4"Harlow snapped (snap)"
5"Tell me what happened to Morris in the dark (tell happen)"
6"she screamed (scream)"
7"the creature whispered (whisper)"
8"The ceiling groaned. (groan)"
9"Harlow growled (growl)"
dialogueSentences49
tagDensity0.286
leniency0.571
rawRatio0.714
effectiveRatio0.408
74.2428%