Run: 2026-02-19-01KHTYCMZCR8170E1Z5E3VHECM

Run Details

Duration:
2m 28s
Cost:
$0.003539
Provider:
SiliconFlow

Model input

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

Model response

AI
The suspect turned the corner onto Neal Street, the violent slap of his trainers on the wet pavement echoing between the brick walls. Harlow Quinn matched his pace, her own shoes hitting the ground with military precision, a steady counterpoint to his panic. Rain plastered his dark jacket to his back and her salt-and-pepper hair to her scalp. She’d picked him up outside The Raven’s Nest, watching from her unmarked car as he’d argued with a tall man silhouetted in the green neon glow. The handoff was quick—a small, canvas-wrapped package for a thick envelope. When he’d spotted her, his eyes had widened with a recognition that told her everything she needed to know. He’d bolted, and she’d given chase. Now, the envelope was a sodden lump in her coat pocket, and the runner was leading her deeper into the labyrinthine streets of Covent Garden. He darted right, into a service alley stacked with overflowing industrial bins. The air thickened with the sweet-rotten stench of decaying food and stale beer. Quinn didn't break stride, her sharp jaw set. *Predictable.* She drew her torch, the beam cutting a path through the gloom, illuminating scurrying shadows and puddles shimmering with oily rainbows. He was trying to lose her in the maze, using knowledge of the backstreets she couldn't possibly possess. But eighteen years taught you patterns. The frantic glances over the shoulder, the slight stumble when uncertain—he was heading somewhere specific, not just running blind. He burst out onto a busier street, earning a furious horn blast from a black cab. Quinn followed, her breath a pale cloud in the chilly air. He was faster, younger, desperation fuelling his legs. But desperation made you sloppy. He vanished. One moment he was there, a dark shape under a flickering streetlamp near Camden Lock. The next, he was gone. Quinn slowed, her senses screaming. The worn leather watch on her wrist felt tight. She approached the spot where she’d lost him. No open doors, no alcoves deep enough to hide in. Just a grimy, disused phone box and a flight of concrete steps leading down, barred by a heavy iron gate that should have been chained shut. The chain lay on the wet ground, cut clean through. The gate stood ajar. A bad feeling, cold and familiar, settled in her gut. It was the same feeling she’d had three years ago, the night she’d lost Morris. The night the world had tilted off its axis and logic had bled away into something darker. She pushed the memory down. *Not now.* She shone her torch down the steps. They descended into a deeper blackness than the night could account for. The air that wafted up was strange—damp, like the Tube, but carrying faint, discordant notes of incense, ozone, and something coppery. This was it. His destination. An abandoned Tube station, according to the faded signage half-covered in graffiti. But she knew, with a certainty that chilled her bones, it was anything but abandoned. She keyed her radio. "Dispatch, this is Quinn. In pursuit of male suspect, late twenties, dark clothing. Last seen entering the disused Camden Road station. Requesting immediate backup." The radio crackled, spitting static. "...say again, Detective? Your signal's breaking up. Camden Road station is sealed." "He's inside. I'm going in." "Quinn, negative. Wait for support. That area's unstable." The static worsened, swallowing the dispatcher's voice into meaningless noise. She tapped the device. Dead. Her phone, when she pulled it from her pocket, showed no signal. The blackness below seemed to drink the light from her torch beam. *Unfamiliar territory. Potential hostiles. No comms.* Every tactical instinct told her to hold the entrance, to wait. Set a perimeter. But she saw Morris's face, smiling ruefully as he checked his own gear before that last, fatal raid. *"Sometimes, Harlow, the only way out is through."* If she waited, whatever—whoever—was down there would vanish. The clues to Morris’s death, the threads of this new corruption she was chasing, they all led to places like this. Shadows within shadows. She drew her service weapon, the weight comforting in her hand. With a final glance at the rain-swept street above, a world that still made a kind of sense, Detective Harlow Quinn stepped through the gate and started down. The stairs were slick with moss and neglect. The air grew colder, the strange scent stronger with each step. It wasn't just damp; it was the smell of old magic and older secrets. At the bottom, the stairs opened onto a derelict ticket hall. Tiled walls were scarred with symbols she didn't recognise. But it was the far side of the hall that held her attention. A archway, barely visible in the gloom, was flanked by two hulking figures. They weren't quite human—too tall, their proportions subtly wrong. One held a rusted spear, the other merely crossed its thick arms. A dim lantern hung between them, casting long, dancing shadows. As she watched, her suspect approached them. He fumbled in his pocket and produced a small, pale object. A token of some kind. One of the guards took it, held it up to the light, and grunted. They stepped aside. He glanced back once, his face a frightened moon in the darkness, and then he slipped through the archway. A wave of sound—muffled chatter, strange music, the clink of glass—washed out for a second before the silence rushed back in. Quinn moved forward, keeping to the walls. She stopped a dozen feet from the guards. Their eyes, reflecting her torchlight with an animal shine, fixed on her. "The Market's not for your kind," the one with the spear rumbled, his voice like grinding stones. "I'm Metropolitan Police. I'm in pursuit of a suspect." The guards exchanged a look that might have been amusement. "No jurisdiction here, little law-bringer," the second one said. "You want in, you pay the toll." "I don't have a token." "Then you don't get in." She could try to force her way past. Two against one, but they were big, and she had no idea what they were truly capable of. A firefight in a confined space was a last resort. Her mind raced. The canvas-wrapped package. She’d forgotten it in the chase. She pulled it from her other pocket. It was small, heavy for its size. She unwrapped a corner. Inside was a smooth, off-white disc. Bone. "This?" she asked, holding it up. The guards fell silent. The spear-carrier leaned forward, sniffing the air around the token. He straightened up, his manner shifting from bored hostility to wary respect. "Where'd you get that?" "From the man I'm following." A long pause. The sound from beyond the archway seemed to swell, beckoning. "He paid for one," the guard said slowly. "The token grants passage to the bearer." He gestured with his spear toward the archway. An invitation. A trap. This was the point of no return. Upstairs was her career, her world, the rules she understood. Down here was the truth about what happened to Morris. Down here was everything she’d been hunting for three years. Harlow Quinn tightened her grip on her weapon, slipped the bone token back into her pocket, and walked towards the archway. The guards watched her pass, their forms seeming to swell in the flickering light. She didn't look back. The noise hit her first—a cacophony of bartering in a dozen languages, some human, some not. The smell was overwhelming: spiced meats, pungent herbs, ozone, and that faint, ever-present copper tang. The Veil Market stretched out before her, a bizarre carnival nestled in the cavernous space of the old station platform. Stalls constructed from scrap wood and rich silks sold things that made her skin crawl: glowing fungi in jars, intricate clockwork birds that sang in minor keys, vials of liquid that pulsed with inner light. Her suspect was already halfway down the central aisle, weaving through a crowd of beings that were a far cry from the late-night revellers of Soho. A woman with eyes like a cat’s brushed past her, hissing softly. A hulking figure covered in coarse fur haggled over a glittering dagger. She started after him, her police-issue boots sounding obtrusively loud on the grimy tiles. Eyes turned towards her. Human eyes, inhuman eyes. The chatter dipped slightly. She was a discordant note in their symphony. He glanced back, saw her, and his face contorted in fresh terror. He broke into a run, shoving a stall selling dried medicinal herbs. Bunches of wolfsbane and mandrake root scattered across the floor. "Stop! Police!" The word felt absurd here, but it was all she had. He didn't stop. He ducked down a narrower side passage between two stalls draped with thick, patterned rugs. Quinn plunged after him. The passage was a tight squeeze, the carpets brushing against her shoulders, smelling of dust and sandalwood. It opened into a smaller, darker alcove, a dead-end. A single oil lamp burned on a barrel, illuminating stacks of crates. He was trapped. He turned to face her, chest heaving, back against a rusted metal door. "Stay back!" he yelled, pulling a knife from his belt. It was a cheap, nasty thing, but it looked sharp. "Put it down," Quinn said, her voice level, her gun aimed centre-mass. "It's over." "You don't understand! They'll kill me! They'll kill both of us for being here!" "Who will?" His eyes darted around the alcove, wild with panic. "Just let me go. Please. You have no idea what you're walking into." "I'm walking into a murder investigation," Quinn said, taking a step forward. "And you're a material witness. Now, drop the knife." He shook his head, a frantic jerk of movement. "No. No, you don't get it. Morris didn't get it either." The name hit her like a physical blow. The world seemed to narrow to the boy's terrified face and the flickering lamplight. "What did you say?" "Morris. Your partner. He… he asked too many questions. Came to the wrong people." Her finger tightened on the trigger. "What do you know about Morris?" A scraping sound came from behind the rusted door. Heavy bolts being drawn back. The suspect's eyes widened further, pure horror replacing panic. "They're here," he whispered. The metal door groaned open, revealing a deeper darkness beyond. A tall, gaunt figure stood silhouetted in the doorway, features hidden in shadow. It raised a long-fingered hand. Quinn swung her torch beam towards it. The light illuminated a face that was pale and unnervingly smooth, with eyes like chunks of polished jet. It smiled, a thin, cruel slash of a mouth. "Detective Quinn," it said, its voice a dry rustle. "We've been expecting you."
created_at"2026-02-19T12:35:54.996Z" 2/19/2026, 12:35:54 PM
model"deepseek/deepseek-chat-v3.1"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2003
moderation_latency(null)
generation_time147727
tokens_prompt4679
tokens_completion2758
native_tokens_prompt4223
native_tokens_completion2399
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.00353921
router(null)
provider_responses
0
endpoint_id"5d5c9c1d-af0d-4e4a-8aee-c5cd2b3883f3"
id"019c75e658d73feed6875e259468841d"
is_byokfalse
latency1943
model_permaslug"deepseek/deepseek-chat-v3.1"
provider_name"SiliconFlow"
status200
api_type"completions"
id"gen-1771504555-Yqynl8rjUqGSfejbx0XI"
upstream_id"019c75e658d73feed6875e259468841d"
total_cost0.00353921
cache_discount(null)
upstream_inference_cost0
provider_name"SiliconFlow"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount1
adverbTags
0"the guard said slowly [slowly]"
dialogueSentences32
tagDensity0.281
leniency0.563
rawRatio0.111
effectiveRatio0.063
88.93% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1806
totalAiIsmAdverbs4
found
0
adverb"truly"
count1
1
adverb"slowly"
count1
2
adverb"softly"
count1
3
adverb"slightly"
count1
highlights
0"truly"
1"slowly"
2"softly"
3"slightly"
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)
47.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1806
totalAiIsms19
found
0
word"echoing"
count1
1
word"predictable"
count1
2
word"gloom"
count2
3
word"familiar"
count1
4
word"chilled"
count1
5
word"potential"
count1
6
word"weight"
count1
7
word"comforting"
count1
8
word"hulking"
count2
9
word"dancing"
count1
10
word"silence"
count1
11
word"raced"
count1
12
word"cacophony"
count1
13
word"constructed"
count1
14
word"intricate"
count1
15
word"pulsed"
count1
16
word"symphony"
count1
highlights
0"echoing"
1"predictable"
2"gloom"
3"familiar"
4"chilled"
5"potential"
6"weight"
7"comforting"
8"hulking"
9"dancing"
10"silence"
11"raced"
12"cacophony"
13"constructed"
14"intricate"
15"pulsed"
16"symphony"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences153
matches
0"d with panic"
86.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences153
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"try to"
2"happened to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences175
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords17
totalWords1781
ratio0.01
matches
0"Predictable."
1"Not now."
2"Unfamiliar territory. Potential hostiles. No comms."
3"\"Sometimes, Harlow, the only way out is through.\""
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1570
uniqueNames17
maxNameDensity0.7
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Neal1
Street1
Quinn11
Raven1
Nest1
Covent1
Garden1
Camden1
Lock1
Morris4
Tube2
Detective1
Harlow3
Veil1
Market1
Soho1
One3
persons
0"Quinn"
1"Nest"
2"Morris"
3"Harlow"
4"Market"
5"One"
places
0"Neal"
1"Street"
2"Raven"
3"Covent"
4"Garden"
5"Camden"
6"Soho"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences113
glossingSentenceCount1
matches
0"quite human—too tall, their proportions subtly wrong"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1781
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences175
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs64
mean27.83
std19.76
cv0.71
sampleLengths
058
187
255
343
440
52
620
758
814
949
1040
1132
1228
1317
145
158
1639
1746
1832
1939
2066
2144
2240
2340
2427
2517
269
2726
285
295
3073
316
3226
334
345
3513
3615
3712
3837
3939
4086
4150
4234
4334
4413
4522
4638
4716
4820
4914
93.80% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences153
matches
0"was gone"
1"been chained"
2"were scarred"
3"was flanked"
4"being drawn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs269
matches
0"was leading"
1"was trying"
2"was heading"
3"was chasing"
12.24% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount9
semicolonCount1
flaggedSentences8
totalSentences175
ratio0.046
matches
0"The handoff was quick—a small, canvas-wrapped package for a thick envelope."
1"The frantic glances over the shoulder, the slight stumble when uncertain—he was heading somewhere specific, not just running blind."
2"The air that wafted up was strange—damp, like the Tube, but carrying faint, discordant notes of incense, ozone, and something coppery."
3"If she waited, whatever—whoever—was down there would vanish."
4"It wasn't just damp; it was the smell of old magic and older secrets."
5"They weren't quite human—too tall, their proportions subtly wrong."
6"A wave of sound—muffled chatter, strange music, the clink of glass—washed out for a second before the silence rushed back in."
7"The noise hit her first—a cacophony of bartering in a dozen languages, some human, some not."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1594
adjectiveStacks1
stackExamples
0"small, canvas-wrapped package"
adverbCount38
adverbRatio0.02383939774153074
lyAdverbCount13
lyAdverbRatio0.008155583437892095
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences175
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences175
mean10.18
std6.09
cv0.599
sampleLengths
023
120
215
326
411
519
66
725
812
913
108
1122
1218
136
1419
1516
1611
178
185
192
2015
215
225
239
248
2510
2626
2710
284
2910
3015
3117
325
332
347
3512
3621
373
382
3912
4015
414
4224
435
4412
455
468
4710
484
491
49.33% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.33714285714285713
totalSentences175
uniqueOpeners59
23.31% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences143
matches
0"Just a grimy, disused phone"
ratio0.007
80.14% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences143
matches
0"She’d picked him up outside"
1"He’d bolted, and she’d given"
2"He darted right, into a"
3"He was trying to lose"
4"He burst out onto a"
5"He was faster, younger, desperation"
6"She approached the spot where"
7"It was the same feeling"
8"She pushed the memory down."
9"She shone her torch down"
10"They descended into a deeper"
11"She keyed her radio."
12"She tapped the device."
13"Her phone, when she pulled"
14"She drew her service weapon,"
15"It wasn't just damp; it"
16"They weren't quite human—too tall,"
17"He fumbled in his pocket"
18"They stepped aside."
19"He glanced back once, his"
ratio0.35
47.41% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount118
totalSentences143
matches
0"The suspect turned the corner"
1"Harlow Quinn matched his pace,"
2"Rain plastered his dark jacket"
3"She’d picked him up outside"
4"The handoff was quick—a small,"
5"He’d bolted, and she’d given"
6"He darted right, into a"
7"The air thickened with the"
8"Quinn didn't break stride, her"
9"He was trying to lose"
10"The frantic glances over the"
11"He burst out onto a"
12"Quinn followed, her breath a"
13"He was faster, younger, desperation"
14"The next, he was gone."
15"Quinn slowed, her senses screaming."
16"The worn leather watch on"
17"She approached the spot where"
18"The chain lay on the"
19"The gate stood ajar."
ratio0.825
69.93% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences143
matches
0"Now, the envelope was a"
1"If she waited, whatever—whoever—was down"
ratio0.014
79.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences79
technicalSentenceCount7
matches
0"When he’d spotted her, his eyes had widened with a recognition that told her everything she needed to know."
1"Just a grimy, disused phone box and a flight of concrete steps leading down, barred by a heavy iron gate that should have been chained shut."
2"The air that wafted up was strange—damp, like the Tube, but carrying faint, discordant notes of incense, ozone, and something coppery."
3"Stalls constructed from scrap wood and rich silks sold things that made her skin crawl: glowing fungi in jars, intricate clockwork birds that sang in minor keys…"
4"Her suspect was already halfway down the central aisle, weaving through a crowd of beings that were a far cry from the late-night revellers of Soho."
5"The passage was a tight squeeze, the carpets brushing against her shoulders, smelling of dust and sandalwood."
6"The light illuminated a face that was pale and unnervingly smooth, with eyes like chunks of polished jet."
69.44% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount1
matches
0"it said, its voice a dry rustle"
87.50% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount2
fancyTags
0"he yelled (yell)"
1"he whispered (whisper)"
dialogueSentences32
tagDensity0.219
leniency0.438
rawRatio0.286
effectiveRatio0.125
84.3279%