Run: 2026-02-19-01KHTYESP4QXKNA401B2P6CWJX

Run Details

Duration:
1m 58s
Cost:
$0.296325

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 goblin's knife caught Quinn's sleeve as she ducked left into Monmouth Street. Three inches of fabric tore clean through. Too close. "Police! Stop!" The creature laughed, yellow eyes catching the streetlights. It vaulted a bin and sprinted towards Seven Dials. Quinn followed, trainers slipping on wet cobblestones. The November rain had turned London into a skating rink. Her radio crackled. "Unit responding to your location, Detective." "Negative. Maintain perimeter." The last thing she needed was uniforms blundering into whatever this was. Three years since Morris died, and she still didn't have words for what killed him. But she recognised the signs. The unnatural speed. The way shadows bent wrong around its form. The goblin careened through the junction at Seven Dials, sending late-night pedestrians scattering. Someone dropped their umbrella. Quinn hurdled it, gaining ground. The thing was fast, but sloppy. It kept checking over its shoulder, slowing at each glance. "Nowhere to run," she shouted. It bolted down Mercer Street. Quinn knew these streets, had walked them for two decades. Dead end coming up. She'd have it cornered at— The goblin vanished. Quinn skidded to a halt, scanning the empty street. Rain drummed on her shoulders. A taxi splashed past, oblivious. She circled slowly, checking doorways, bins, anywhere it might hide. Movement. A grating shifted near the corner shop. She approached carefully, torch in one hand, baton in the other. The metal grate lay askew, revealing steps descending into darkness. The faintest green glow emanated from below, along with sounds she couldn't quite place. Music? Voices? Quinn hesitated. Protocol said call for backup. Wait for the Armed Response Unit. File the paperwork and let someone else handle the weird stuff. Morris had followed protocol. She descended. The steps were older than they should be, worn smooth by centuries of traffic. The walls changed from modern brick to Victorian stonework to something that predated the Great Fire. Her torch beam caught symbols carved into the stone. Not Greek, but close. The kind of thing she'd seen in evidence lockers, always tagged "occult paraphernalia" by officers who didn't want to think too hard. The music grew louder. Definitely music now, though no instruments she recognised. The corridor opened into a wider passage lit by those same green lights, glass orbs that gave off no heat. Quinn killed her torch. No point advertising her presence. Voices echoed ahead. Haggling. Arguing. The universal sounds of commerce. She edged forward, keeping to the shadows, until the passage opened into something impossible. Camden Market, if Camden Market existed in a fever dream. The abandoned Tube platform stretched in both directions, but someone had built a bazaar in the tunnels. Stalls crowded every surface, draped in fabrics that shimmered without light sources. Vendors called their wares in languages Quinn didn't recognise. Customers browsed tables laden with bottles that swirled with their own weather systems, books that read themselves, cages containing shadows that moved independent of any form. And the people. If she could call them people. The goblin she'd chased haggled with a woman whose skin flickered between human pink and scales. A man with too many joints examined a knife that cut the air itself. Something that might have been human, once, counted coins that fell upward. Quinn pressed against the wall, trying to process what she was seeing. The Veil Market. She'd heard whispers, found references in old case files. The black market that shouldn't exist, selling things that couldn't exist, to customers who definitely didn't exist in any government database. "First time?" Quinn spun. A young man stood beside her, Mediterranean features marred by a scar along his forearm. He wore a paramedic's uniform, though no NHS badge she recognised. "Easy." He raised his hands. "You've got cop written all over you, but I'm not here to cause trouble." "Who are you?" "Tomás Herrera. I provide certain services the Market requires. Medical, mostly. Though I'm guessing you're not here for stitches." Quinn kept her hand on her baton. "I'm pursuing a suspect." "The goblin? Yeah, saw him come through. Probably at Maghda's stall by now. She fences stolen goods." Tomás tilted his head. "You planning to arrest him?" "That's the idea." "In the middle of the Veil Market. By yourself. With a stick." He wasn't mocking, just stating facts. "What did he take?" "Three bodies worth of blood from St. Bartholomew's blood bank." Tomás winced. "Medical blood's worth a fortune here. Vampires prefer ethically sourced these days. Less complications than hunting." He studied her face. "You're not shocked." "I've seen things." "Morris." Quinn's hand tightened on the baton. "How do you—" "I tried to save him. Three years ago. Werewolf attack in Regent's Park. Brought him here when the wounds wouldn't close. Market healers know things your hospitals don't." His expression softened. "I'm sorry. Even they couldn't stop the silver poisoning." "Werewolf." The word felt ridiculous in her mouth. But Morris's wounds, the way they'd festered despite treatment, the full moon that night. "You're telling me a werewolf killed my partner." "Rabid one. Sometimes they lose themselves to the beast. Your people shot it, called it a wild dog. Case closed." Tomás glanced at the Market. "Look, your goblin's getting away. But if you go in there alone, badge blazing, you'll start a riot. These people don't trust police." "Then what do you suggest?" He pulled something from his pocket. A small disc of bone, carved with those same not-Greek symbols. "Temporary vendor's pass. Keep it visible, don't make sudden moves, and for God's sake don't accept any deals. The Market has rules." Quinn took the token. It felt warm, almost alive. "Why help me?" "Because stolen blood brings the wrong kind of attention. Because I took an oath to do no harm, even if the NHS revoked it. Because maybe it's time someone in authority knew the truth." He stepped back. "Maghda's stall is third row, blue awning. The goblin will try to run when he sees you. They always do." "And you?" "I've got patients to check. Supernatural physiology doesn't follow normal rules. Burns that won't heal, curses that present like autoimmune disorders." He adjusted his Saint Christopher medallion. "If you make it out, find me at the Raven's Nest in Soho. Green neon sign. We should talk about Morris. About all of it." He melted back into the shadows before Quinn could respond. She weighed her options. Leave now, file a report no one would believe. Or go deeper, find answers to questions she'd carried for three years. The token pulsed in her hand. Quinn stepped into the Veil Market. The assault on her senses was immediate. Smells that shouldn't exist – ozone and copper and something floral but wrong. Sounds that made her teeth ache. Colors that human eyes weren't meant to process. She forced herself to walk normally, displaying the token prominently. Most vendors ignored her. A few tracked her movement with eyes that had too many pupils. One, selling bottles of what looked like captured screams, actually nodded politely. Blue awning. Third row. Maghda turned out to be a middle-aged woman with silver hair and fingers that moved too fast, sorting through a collection of obviously stolen goods. Hospital equipment. Jewelry. Electronics with serial numbers filed off. And three bags of blood, still bearing St. Bartholomew's labels. The goblin crouched beside the stall, counting coins. It looked up as Quinn approached, yellow eyes widening. "Run and I'll assume guilt," Quinn said conversationally. It ran. Quinn vaulted the stall, scattering merchandise. Maghda cursed in three languages, none of them English. The goblin darted between customers, using its size to squeeze through gaps Quinn couldn't follow. She kept pace, letting it tire itself out. The Market had edges. Eventually, it would run out of places to hide. It chose a tunnel marked with warning signs in a dozen scripts. Quinn hesitated for a heartbeat, then followed. The passage narrowed, forcing her to duck. Ahead, the goblin scrambled up a maintenance ladder. She caught its ankle just as it reached the top. It kicked, catching her shoulder. Quinn held on, using her weight to drag it back down. They hit the tunnel floor hard, rolling in accumulated grime. The goblin was stronger than it looked but untrained. Quinn had it pinned in seconds, one arm twisted behind its back. "Yield," it gasped. "You're under arrest for theft. And before you start on about jurisdiction—" "The blood wasn't for me." Its accent was pure South London, incongruous with the pointed ears and gray skin. "My daughter. She's sick. The healers say she needs human blood, proper medical grade. I can't afford Market prices." Quinn hesitated. Every criminal had a sob story. "She's six," the goblin continued. "Half-human. Her mum's genes are killing her. Without transfusions..." Its voice cracked. "I'll serve time. Just let me get the blood to her first. Please." Footsteps echoed in the tunnel. Multiple sets, moving fast. Quinn looked up to find herself surrounded by Market security. Not quite human, any of them. The leader, seven feet tall with tusks jutting from his lower jaw, studied her token. "Vendor pass doesn't cover law enforcement," he rumbled. "The blood's stolen property." "Market business stays in the Market. Those are the rules." Quinn did the math. Six against one, in their territory. And even if she won, then what? Drag a goblin to the surface, explain to her superiors that she'd pursued it into a supernatural black market that officially didn't exist? She released the goblin, stood slowly. "The blood goes to the daughter. All of it. I'll be checking." The security leader nodded approvingly. "You may have one hour to conclude your business and leave. The token expires at dawn." They melted back into the shadows, leaving Quinn alone with the goblin. "Thank you," it whispered. "Don't thank me yet." She hauled it to its feet. "You're going to show me where the entrance is. And next time you need medical supplies, try asking the paramedic. Tomás, at the Raven's Nest." "Tomás helped my daughter once. Couldn't afford his fees either." "Then maybe it's time someone started a conversation about supernatural healthcare that doesn't involve theft." Quinn gestured towards the main market. "Lead the way. And if you run again, I'll let security know you've been stealing from their vendors too." The goblin paled, an impressive feat given its gray complexion. "You didn't see—" "The wallet you lifted from Maghda? The protective charm from the screaming bottle stall?" Quinn smiled grimly. "I'm a detective. I see everything." They walked back through the Market in silence. Quinn memorised every detail. The layout, the vendors, the impossible things being sold. Three years of questions, and she'd barely scratched the surface. The entrance, when they reached it, was different from where she'd entered. A service tunnel beneath King's Cross, warded with symbols that made her eyes water. "It moves," the goblin explained. "Never the same place twice in a month. Need a token to find it." Quinn pocketed the bone disc. Dawn was still hours away. "Your daughter. What's her name?" "Eliza." The goblin's features softened. "After her mum's gran." "Bring her to the Raven's Nest tomorrow night. I'll cover Tomás's fees." She cut off its protests. "Consider it an investment in keeping you from another theft charge." The goblin scampered up the tunnel steps. Quinn followed more slowly, emerging into pre-dawn London. The rain had stopped. Normal city sounds – traffic, sirens, drunken singing – felt strange after the Market's otherworldly chorus. She walked back to where she'd parked, mind churning. Morris was dead because of a werewolf. Goblins lived in London, stealing blood for sick children. A black market operated beneath the city, selling impossible things to impossible people. Her phone buzzed. Three missed calls from dispatch, two from her inspector. Quinn ignored them all. She had a bar to find in Soho. A paramedic to question. And a partner's death to finally understand. The bone token pulsed once more in her pocket, then went still.
total_cost0.296325

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags23
adverbTagCount3
adverbTags
0"He stepped back [back]"
1"Quinn said conversationally [conversationally]"
2"Quinn smiled grimly [grimly]"
dialogueSentences65
tagDensity0.354
leniency0.708
rawRatio0.13
effectiveRatio0.092
90.03% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2007
totalAiIsmAdverbs4
found
0
adverb"slowly"
count3
1
adverb"carefully"
count1
highlights
0"slowly"
1"carefully"
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)
60.14% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2007
totalAiIsms16
found
0
word"the last thing"
count1
1
word"scanning"
count1
2
word"echoed"
count2
3
word"shimmered"
count1
4
word"flickered"
count1
5
word"database"
count1
6
word"almost alive"
count1
7
word"pulsed"
count2
8
word"weight"
count1
9
word"footsteps"
count1
10
word"charm"
count1
11
word"silence"
count1
12
word"otherworldly"
count1
13
word"churning"
count1
highlights
0"the last thing"
1"scanning"
2"echoed"
3"shimmered"
4"flickered"
5"database"
6"almost alive"
7"pulsed"
8"weight"
9"footsteps"
10"charm"
11"silence"
12"otherworldly"
13"churning"
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
narrationSentences182
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences182
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences222
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2006
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions88
wordCount1388
uniqueNames32
maxNameDensity2.31
worstName"Quinn"
maxWindowNameDensity4.5
worstWindowName"Quinn"
discoveredNames
Quinn32
Monmouth1
Street2
Seven2
Dials2
November1
London4
Three4
Morris4
Mercer1
Armed1
Response1
Unit1
Victorian1
Great1
Fire1
Greek2
Market9
Camden2
Tube1
Veil2
Mediterranean1
Tomás3
Saint1
Christopher1
St1
English1
South1
Footsteps1
King1
Cross1
Soho1
persons
0"Quinn"
1"Dials"
2"Morris"
3"Market"
4"Mediterranean"
5"Tomás"
6"Saint"
7"Christopher"
8"Footsteps"
9"King"
10"Cross"
places
0"Monmouth"
1"Street"
2"Seven"
3"London"
4"Mercer"
5"Victorian"
6"Veil"
7"St"
8"South"
9"Soho"
globalScore0.347
windowScore0.167
59.09% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount4
matches
0"quite place"
1"looked like captured screams, actually no"
2"collection of obviously stolen goods"
3"Not quite human, any of them"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.499
wordCount2006
matches
0"Not Greek, but close"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences222
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs94
mean21.34
std15.71
cv0.736
sampleLengths
022
12
234
39
446
538
65
724
83
929
108
1137
1224
134
142
1565
1641
1724
1810
1964
209
2142
2245
232
2428
2519
263
2719
2811
2926
303
3122
3210
3325
343
351
369
3740
3830
3948
405
4139
4212
4357
442
4552
4610
4725
486
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences182
matches
0"being sold"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs277
matches
0"was seeing"
1"wasn't mocking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences3
totalSentences222
ratio0.014
matches
0"She'd have it cornered at—"
1"Smells that shouldn't exist – ozone and copper and something floral but wrong."
2"Normal city sounds – traffic, sirens, drunken singing – felt strange after the Market's otherworldly chorus."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1388
adjectiveStacks0
stackExamples(empty)
adverbCount49
adverbRatio0.035302593659942365
lyAdverbCount19
lyAdverbRatio0.013688760806916427
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences222
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences222
mean9.04
std6.26
cv0.693
sampleLengths
013
17
22
32
48
59
67
710
83
96
1015
1115
125
133
148
1513
164
175
186
1910
205
215
2210
234
245
253
269
275
285
2910
301
317
3211
3310
3414
351
361
372
385
396
4011
414
422
4314
4416
459
464
4722
484
498
67.42% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.42342342342342343
totalSentences222
uniqueOpeners94
41.41% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences161
matches
0"Definitely music now, though no"
1"Eventually, it would run out"
ratio0.012
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences161
matches
0"It vaulted a bin and"
1"Her radio crackled."
2"It kept checking over its"
3"It bolted down Mercer Street."
4"She'd have it cornered at—"
5"She circled slowly, checking doorways,"
6"She approached carefully, torch in"
7"Her torch beam caught symbols"
8"She edged forward, keeping to"
9"She'd heard whispers, found references"
10"He wore a paramedic's uniform,"
11"He raised his hands"
12"He wasn't mocking, just stating"
13"He studied her face"
14"His expression softened"
15"He pulled something from his"
16"It felt warm, almost alive."
17"He stepped back"
18"He adjusted his Saint Christopher"
19"He melted back into the"
ratio0.236
50.06% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount132
totalSentences161
matches
0"The goblin's knife caught Quinn's"
1"The creature laughed, yellow eyes"
2"It vaulted a bin and"
3"Quinn followed, trainers slipping on"
4"The November rain had turned"
5"Her radio crackled."
6"The last thing she needed"
7"The unnatural speed."
8"The way shadows bent wrong"
9"The goblin careened through the"
10"Someone dropped their umbrella."
11"Quinn hurdled it, gaining ground."
12"The thing was fast, but"
13"It kept checking over its"
14"It bolted down Mercer Street."
15"Quinn knew these streets, had"
16"She'd have it cornered at—"
17"The goblin vanished."
18"Quinn skidded to a halt,"
19"Rain drummed on her shoulders."
ratio0.82
31.06% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences161
matches
0"If she could call them"
ratio0.006
60.44% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount6
matches
0"It kept checking over its shoulder, slowing at each glance."
1"Customers browsed tables laden with bottles that swirled with their own weather systems, books that read themselves, cages containing shadows that moved indepen…"
2"The black market that shouldn't exist, selling things that couldn't exist, to customers who definitely didn't exist in any government database."
3"Smells that shouldn't exist – ozone and copper and something floral but wrong."
4"Maghda turned out to be a middle-aged woman with silver hair and fingers that moved too fast, sorting through a collection of obviously stolen goods."
5"A service tunnel beneath King's Cross, warded with symbols that made her eyes water."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount0
matches(empty)
73.08% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount5
fancyTags
0"she shouted (shout)"
1"it gasped (gasp)"
2"the goblin continued (continue)"
3"it whispered (whisper)"
4"the goblin explained (explain)"
dialogueSentences65
tagDensity0.092
leniency0.185
rawRatio0.833
effectiveRatio0.154
84.9797%