Run: 2026-02-19-01KHTY7HHBHEKD1EQKPK3S2N4C

Run Details

Duration:
10.3s
Cost:
$0.005532
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The alley reeked of stale beer and desperation. Quinn slid a hand to her belt, the grip of her service pistol a cold comfort under the heavy rain. Her breath plumed in the damp air as her gaze swept the overflowing bins and graffiti-scarred brickwork. A shadow detached itself from the gloom at the far end, a quick, darting movement she almost missed. "Police! Stop!" The figure didn't hesitate, bolting onto the main street, a dark blur against the sickly yellow glow of streetlights. Quinn cursed under her breath, breaking into a sprint. The pavement was a treacherous, slick ribbon, reflecting the neon haze of Soho. Rain plastered her closely cropped salt-and-pepper hair to her skull, stinging her eyes, but she pushed harder. Eighteen years on the force taught her to ignore discomfort. It taught her how to catch ghosts. The suspect, slender and surprisingly quick, wove through the handful of late-night drinkers and theatre-goers. Horns blared. A black cab screeched to a halt, narrowly missing them both. Quinn shoved a startled tourist out of her path, a mumbled apology lost to the wind. Her lungs burned. She kept her eyes locked on the shifting figure, a dark smudge against the kaleidoscopic reflections on the wet tarmac. This wasn't some petty thief. This was something else, something with purpose. They tore across Shaftesbury Avenue, the roar of passing traffic a dull thrum in Quinn's ears. The detective remembered the reports, the vague, unsettling details filtering through the usual channels, the cases that never quite added up. DS Morris’s face flashed in her mind, a sharp pang of memory, the unanswered questions that still haunted her. This felt connected. It vibrated with the same odd, unsettling energy. The suspect's advantage grew as they plunged into the narrower, winding lanes around Charing Cross Road. Quinn spotted a distinctive green neon sign ahead, shimmering through the downpour: "The Raven's Nest". Silas's bar. Another piece of the puzzle clicked into place. She knew this clique, this tight-knit group of individuals always on the periphery of the strange incidents. This man, then, some runner for them? Just past the Raven, the suspect veered sharply, ducking into a grimy alleyway that seemed to swallow the light. Quinn risked a glance at her worn leather watch. Nearly midnight. She wasn't slowing down. Her military precision took over, each step deliberate, powerful. She needed this. Not just for the case, but for Morris. The alley opened into a small, forgotten square, usually dead at this hour. Tonight, however, Quinn saw movement near a dilapidated brick building, its windows boarded up and plastered with faded flyers. A heavy metal door, usually padlocked and chained, stood ajar, a sliver of darkness promising a deeper descent. The suspect slipped through the gap, vanishing from sight. Quinn reached the threshold, the air growing colder, heavy with the scent of damp earth and something acrid, metallic. The faint glow of a bare bulb cast long, distorted shadows down a crumbling concrete staircase. It led into nothing but oppressive black. She hesitated, her hand still on her pistol. This wasn't a standard police pursuit anymore. This felt like walking into an old urban legend. The kind Morris used to joke about, until the jokes stopped being funny. She pushed the door wider, a low groan of rusted hinges an unwelcome companion to the drumming rain outside. The stairwell descended steeply, the air becoming thick and heavy, carrying a faint, unsettling hum. Quinn drew her weapon, the cold steel familiar against her palm. A dizzying array of strange, muffled sounds drifted up from below: a discordant chorus of chimes, hushed voices, the distant clang of metal on metal, and an odd, rhythmic thumping that pulsed through the ground. It was like no underground station she had ever encountered, yet the structure felt unmistakably like a disused Tube line. The air grew heavy with a kaleidoscope of scents: pungent spices, sweet incense, something faintly organic and, underlying it all, a faint, metallic tang that raised the hair on her arms. Quinn descended cautiously, her boots echoing hollowly on the concrete. The bare bulb at the top flickered out, plunging her into absolute darkness. She fumbled for her tactical torch, its beam cutting a stark path through the inky black. The stairs ended abruptly at a wide, cavernous platform. And then she saw it. Lanterns, some of flickering gaslight, others glowing with an unearthly luminescence, illuminated a sprawling, chaotic marketplace. Stalls fashioned from salvaged materials lined the old railway tracks. Vendors, some human, some decidedly not, hawked their wares with hushed urgency. Woven tapestries hung from thick wires strung across the vaulted ceiling, depicting strange star charts and figures with too many limbs. The air thrummed with a low murmur, a hundred different languages merging into an indecipherable symphony. Quinn saw a stall laden with glass vials of shimmering liquids, another displaying intricate, unsettling charms carved from bone and dark wood. A creature with skin like polished obsidian and eyes like molten gold haggled over a glowing shard of crystal. This was the Veil Market, then. She'd heard whispers, the kind senior officers dismissed as urban myths, the ramblings of madmen. An underground market for the supernatural, moving locations with every full moon. And she, Detective Harlow Quinn, was standing in the middle of it. Without backup. Her suspect was a mere shadow amongst the bizarre crowd, weaving through the throng with practised ease. She watched him, her hand tightening on her pistol. He slipped behind a stall piled high with dried herbs that gave off a sickly sweet odour, his head turning, scanning the crowd. He knew she was here. The bone token. That was the entry requirement she had heard about. She had no token. Yet, she was in. Was it the chase? The urgency of it all? Quinn pushed forward, moving with a forced calm, her eyes darting from face to grotesque face. The sheer impossibility of it all threatened to overwhelm her senses, but she forced herself to focus, to compartmentalise. Morris. This was for Morris. Every step into this unseen world, a step closer to understanding what happened to him. She scanned for her target, ignoring the strange glances, the hushed whispers that followed her. A tall, wiry man with warm brown eyes and short, curly dark brown hair moved purposefully through the crowd. Around his neck, a Saint Christopher medallion gleamed faintly. Tomás Herrera. The disgraced paramedic. Another member of the clique. He moved with a quiet authority, a large satchel slung over his shoulder, his scarred left forearm catching the light. He stopped at a stall draped in dark velvets, where a hunched figure offered what looked like ancient, bound manuscripts. Herrera exchanged a few low words with the vendor, then turned, his gaze sweeping the market. His eyes, the exact shade of melted chocolate, met hers across the chaotic expanse. Recognition. A flicker of surprise, then something else, a calculation, crossed his features. Quinn saw a faint, almost imperceptible nod from him, directed towards the very stall her suspect had ducked behind. A signal. Not to her, but to someone. The suspect reappeared, now joined by another man, burly and dressed in surprisingly modern combat gear, his face obscured by a dark hood. Herrera slipped away, melting into a corridor that led deeper into the station's forgotten tunnels. The two men, however, moved towards her, their posture clearly aggressive. Quinn felt the cold weight of the decision settle on her. This wasn't a simple collar anymore. This was a jump into an abyss she didn't understand. Follow Herrera into the dark underbelly of the market or confront the two men closing in? Her fingers tightened on the pistol grip, its familiar weight a momentary anchor in the surreal chaos.
created_at"2026-02-19T12:33:07.635Z" 2/19/2026, 12:33:07 PM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency511
moderation_latency(null)
generation_time10254
tokens_prompt4663
tokens_completion2033
native_tokens_prompt4507
native_tokens_completion1672
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"
usage0.0055321
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency511
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504387-WRW8LSCpSHA4HgRe16jb"
upstream_id(null)
total_cost0.0055321
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
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences2
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
88.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1306
totalAiIsmAdverbs3
found
0
adverb"sharply"
count1
1
adverb"cautiously"
count1
2
adverb"very"
count1
highlights
0"sharply"
1"cautiously"
2"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)
0.46% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1306
totalAiIsms26
found
0
word"gloom"
count1
1
word"treacherous"
count1
2
word"pang"
count1
3
word"vibrated"
count1
4
word"oppressive"
count1
5
word"standard"
count1
6
word"familiar"
count2
7
word"rhythmic"
count1
8
word"pulsed"
count1
9
word"structure"
count1
10
word"kaleidoscope"
count1
11
word"echoing"
count1
12
word"flickered"
count1
13
word"stark"
count1
14
word"chaotic"
count2
15
word"symphony"
count1
16
word"intricate"
count1
17
word"crystal"
count1
18
word"scanning"
count1
19
word"scanned"
count1
20
word"flicker"
count1
21
word"weight"
count2
22
word"surreal"
count1
highlights
0"gloom"
1"treacherous"
2"pang"
3"vibrated"
4"oppressive"
5"standard"
6"familiar"
7"rhythmic"
8"pulsed"
9"structure"
10"kaleidoscope"
11"echoing"
12"flickered"
13"stark"
14"chaotic"
15"symphony"
16"intricate"
17"crystal"
18"scanning"
19"scanned"
20"flicker"
21"weight"
22"surreal"
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
emotionTells1
narrationSentences108
matches
0"A flicker of surprise"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences108
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"happened to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1300
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions1
unquotedAttributions0
matches(empty)
92.08% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1295
uniqueNames18
maxNameDensity1.16
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Soho1
Shaftesbury1
Avenue1
Quinn15
Morris5
Charing1
Cross1
Road1
Silas1
Raven1
Tube1
Veil1
Market1
Detective1
Harlow1
Saint1
Christopher1
Herrera4
persons
0"Quinn"
1"Morris"
2"Silas"
3"Detective"
4"Harlow"
5"Saint"
6"Christopher"
7"Herrera"
places
0"Soho"
1"Shaftesbury"
2"Avenue"
3"Charing"
4"Cross"
5"Road"
globalScore0.921
windowScore1
61.76% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount3
matches
0"alleyway that seemed to swallow the light"
1"felt like walking into an old urban leg"
2"looked like ancient, bound manuscripts"
46.15% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.538
wordCount1300
matches
0"Not just for the case, but for Morris"
1"Not to her, but to someone"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences109
matches(empty)
40.76% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs23
mean56.52
std16.54
cv0.293
sampleLengths
063
12
275
379
467
565
654
750
851
982
1055
1154
1230
1359
1457
1564
1666
1755
1873
1950
2040
2149
2260
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences108
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs196
matches
0"wasn't slowing"
1"was standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences109
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1301
adjectiveStacks1
stackExamples
0"same odd, unsettling energy."
adverbCount43
adverbRatio0.033051498847040735
lyAdverbCount24
lyAdverbRatio0.018447348193697154
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean11.93
std6.74
cv0.565
sampleLengths
08
120
217
318
42
519
69
713
817
910
107
1115
122
1311
1416
153
1620
175
187
1916
2021
2119
223
238
2416
2515
262
278
2817
297
3019
319
322
334
349
353
368
3713
3819
3918
409
4119
4216
437
448
457
469
4713
4819
4915
53.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.3486238532110092
totalSentences109
uniqueOpeners38
33.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences100
matches
0"Just past the Raven, the"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences100
matches
0"Her breath plumed in the"
1"It taught her how to"
2"Her lungs burned."
3"She kept her eyes locked"
4"They tore across Shaftesbury Avenue,"
5"It vibrated with the same"
6"She knew this clique, this"
7"She wasn't slowing down."
8"Her military precision took over,"
9"She needed this."
10"It led into nothing but"
11"She hesitated, her hand still"
12"She pushed the door wider,"
13"It was like no underground"
14"She fumbled for her tactical"
15"She'd heard whispers, the kind"
16"Her suspect was a mere"
17"She watched him, her hand"
18"He slipped behind a stall"
19"He knew she was here."
ratio0.26
15.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount89
totalSentences100
matches
0"The alley reeked of stale"
1"Quinn slid a hand to"
2"Her breath plumed in the"
3"A shadow detached itself from"
4"The figure didn't hesitate, bolting"
5"Quinn cursed under her breath,"
6"The pavement was a treacherous,"
7"Rain plastered her closely cropped"
8"It taught her how to"
9"The suspect, slender and surprisingly"
10"A black cab screeched to"
11"Quinn shoved a startled tourist"
12"Her lungs burned."
13"She kept her eyes locked"
14"This wasn't some petty thief."
15"This was something else, something"
16"They tore across Shaftesbury Avenue,"
17"The detective remembered the reports,"
18"DS Morris’s face flashed in"
19"This felt connected."
ratio0.89
50.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences100
matches
0"Yet, she was in."
ratio0.01
96.77% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount4
matches
0"The air grew heavy with a kaleidoscope of scents: pungent spices, sweet incense, something faintly organic and, underlying it all, a faint, metallic tang that r…"
1"He slipped behind a stall piled high with dried herbs that gave off a sickly sweet odour, his head turning, scanning the crowd."
2"Quinn pushed forward, moving with a forced calm, her eyes darting from face to grotesque face."
3"Herrera slipped away, melting into a corridor that led deeper into the station's forgotten tunnels."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
82.4121%