Run: 2026-02-19-01KHTYGFX6T5K3N2DZEBSJP9EA

Run Details

Duration:
3m 14s
Cost:
$0.461550

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
Glass shattered against brick. Detective Harlow Quinn ducked as another bottle sailed past her shoulder, the sharp tang of cheap whiskey mixing with rain and diesel fumes. "Stop! Metropolitan Police!" The figure ahead vaulted over a chain-link fence with practised ease. Quinn cursed, her leather watch catching on the wire as she followed. Three years at a desk had dulled her edge. Morris would've cleared it clean. Camden High Street blurred past in streaks of neon and headlights. The suspect, hood up, trainers slapping wet pavement, weaved between late-night revellers spilling from pubs. Quinn's radio crackled static, useless in the downpour. "Move!" She shouldered past a group of tourists gawping at street art. The suspect glanced back, face hidden, then darted left into an alley. Quinn followed. Mistake. The alley dead-ended at a graffitied wall. No fire escapes. No doors. Just overflowing bins and the reek of rotting vegetables. She drew her torch, sweeping the beam across sodden cardboard and broken glass. "Come on out. Let's make this easy." Movement behind the bins. Not running this time. Calculated. The suspect emerged slowly, hands visible but not raised. Male, she guessed from the build. Young. The hood still obscured his face. "Wallet. Keys. Phone. Whatever you lifted from the Nest." "Don't know what you mean." Spanish accent. Slight. Quinn's torch caught the edge of something metallic at his throat. A chain. "Turn around. Hands on the wall." "You don't understand." He shifted weight, trainers squelching. "I didn't take anything. I left something." "Save it for the station." "You're investigating the Raven's Nest?" His voice carried an edge now. Urgency. "Then you need to listen. There's—" The ground beneath them groaned. Quinn's torch beam wavered as the alley floor buckled. Ancient brickwork, weakened by decades of London rain, gave way. The suspect lunged forward, not at her but past her, as the world tilted. "Run!" Too late. The ground collapsed inward like a sinkhole, swallowing bins, debris, and both of them in a cascade of rubble and rushing water. Quinn's world became darkness and the taste of copper. She hit stone hard, shoulder first. Pain flared white-hot. Water, knee-deep and moving fast, threatened to drag her under. Her torch was gone. Emergency lighting flickered overhead, casting everything in a sickly green glow. "Detective?" The suspect crouched nearby, hood thrown back. Young, as she'd guessed. Olive skin. Concerned brown eyes. Blood trickled from a gash on his forehead. "You alright?" Quinn tested her shoulder. Bruised, not broken. "Where are we?" "Storm drain. Old Victorian system." He helped her stand, his grip steady despite the current tugging at their legs. "We need to move. This fills fast when it rains." "And you know this how?" A ghost of a smile. "I've had to patch up people who got lost down here. Name's Tomás." Quinn's hand went to her radio. Dead. Of course. "You're coming with me once we're out." "Fair enough. But first..." He pointed downstream where the tunnel curved. Strange lights danced on the water's surface. Blue. Purple. Definitely not emergency lighting. "We're near the old Camden Deep station. If we can reach it, there's access to street level." "Camden Deep's been sealed since the war." "To the public, yes." Tomás waded forward, one hand on the slime-covered wall for balance. "Coming?" Quinn had two choices: follow a suspect deeper into the tunnels or wait for the water to rise. The current was already stronger, debris floating past like miniature barges. She thought of Morris, of the case file that made no sense, of the leads that led nowhere. "Move." They pushed through the rising water, following the curve of the tunnel. The strange lights grew brighter, accompanied by sounds that didn't belong in a storm drain. Voices. Music. The clink of glass and metal. "What is that?" Tomás paused at a junction where three tunnels met. Ancient signs, barely visible under decades of grime, pointed in different directions. He studied them like a man reading scripture. "Thursday." He checked his watch. "Full moon last week. They're here." "Who's here?" "The Market." He turned to face her fully, and she saw the scar along his forearm catch the weird light. "Detective, I need you to listen carefully. The Raven's Nest, whatever you think you're investigating there, it's bigger than theft. It's bigger than murder. And if we go through there," he nodded toward the tunnel with the lights, "you're going to see things that'll change how you see this city." "Enough riddles." "No riddle. Truth." Water swirled around their thighs now. Time running out. "I was at the Nest tonight to warn them. Someone's hunting the clientele. Someone who knows exactly what they're hunting." Quinn's jaw tightened. Three years ago, Morris had said something similar. Right before he'd walked into that warehouse alone. "The access tunnel?" "Through the Market. Only way now." Tomás pulled something from his pocket. Small. Pale in the strange light. "You'll need this." A token. Carved bone. The surface was warm despite the cold water. "What kind of market needs a password?" "The kind that's been here longer than the city above." The music grew louder. Pipes and drums and something that might have been singing if singing could sound like silver bells drowning. "The kind that serves customers Scotland Yard pretends don't exist." Quinn turned the token over. Symbols etched deep. Not quite Greek. Not quite anything. "I'm arresting you. Soon as we're out." "Understood." Tomás waded toward the lights. "But Detective? When we get in there, don't stare. Don't accept any food or drink. And whatever you do, don't make any deals." "Deals?" "Information costs at the Veil. Always has." He glanced back, eyes serious. "What are you willing to pay to know what happened to your partner?" Quinn's hand found her service weapon, instinct overriding the impossibility of the question. "How do you—" "Same way I know you've been wearing his watch." Tomás nodded to her left wrist where Morris's leather band sat next to her own. "The Market knows all debts, Detective. All losses. All hungers." The tunnel opened into a vast chamber. Quinn's breath caught. Impossible architecture stretched before them, a cathedral of brick and iron that shouldn't exist beneath Camden. Gas lamps lined stone walkways that spiralled down into depths the eye couldn't follow. And everywhere, stalls. Vendors. Customers. Not all of them human. "Welcome," Tomás said softly, "to the Veil Market." A figure at the entrance, seven feet tall with too many joints in all the wrong places, extended a palm. Tomás placed his token there. The hand closed, opened. Two tokens now. "The lady's with me." The guardian's head tilted at an angle that would have snapped a human neck. It studied Quinn with eyes like oil slicks, then stepped aside. The Market rushed up to meet them. Scents of cinnamon and copper, leather and lightning. Stalls selling bottles of liquid starlight. Vendors hawking memories in glass spheres. A butcher's shop with cuts of meat Quinn didn't want to identify. "Stay close." Tomás navigated the crowd with practiced ease. "The medical quarter's this way. If your suspect came through, someone saw." "This is insane." "Tuesday, actually." He sidestepped a customer whose shadow moved independently of its body. "Insane is Saturdays." Quinn's mind reeled, cataloguing impossibilities. The woman selling flowers that bloomed and died in seconds. The card game where the stakes appeared to be years of life. The child, no more than ten, whose eyes were older than London itself. "Here." Tomás stopped at a stall draped in surgical green cloth. The vendor, human enough except for fingers that bent in too many places, looked up from sorting herbs that glowed softly. "Tomás. Twice in one week?" "Evening, Merchant Zhao. Need information." "Don't we all." Zhao's impossible fingers stilled. "Who's your friend?" "Someone looking for answers." Quinn stepped forward. "Metropolitan Police. There was a man, came through here maybe twenty minutes ago. Hood up. Running." Zhao laughed, a sound like wind chimes in a morgue. "Police? Here? Oh, Tomás. What have you done?" "She fell through. Act of chaos. Market law protects her." "Market law." Zhao's attention fixed on Quinn with uncomfortable intensity. "Yes. But information isn't free, Detective. What do you offer?" "I don't—" "She offers nothing." Tomás interrupted. "I'll pay." "Interesting." Zhao leaned back. "And what does the disgraced healer have that I want?" Tomás pulled up his sleeve. The scar along his forearm seemed to pulse in the Market's strange light. "The memory of how I got this." "Tomás, no." Zhao's voice carried something like concern. "That's worth more than simple information." "Then give her more than simple answers." Quinn watched the negotiation with growing unease. Whatever this place was, whatever these people were, Tomás was about to trade something precious for her case. "Why?" He met her eyes. "Because three years ago, I could have saved your partner. I was there. In the warehouse. Too late, but there." His hand went to the medallion at his throat. "This is my penance." Zhao produced a silver blade no longer than a finger. "Your arm, healer." Tomás extended his scarred forearm. The blade touched skin, and Quinn gasped. Images flooded the air above the wound. A younger Tomás in paramedic uniform. A woman convulsing on a gurney. Something with too many teeth erupting from her chest. Blood. Screaming. The knife that carved hero into victim. The images faded. Zhao bottled them in crystal no bigger than a thimble. "Your runner came through forty minutes ago." The merchant's voice was businesslike now. "Young man. Spanish. Bought passage to the Spine quarter. Paid with this." Zhao placed something on the counter. A wallet. Expensive leather. The kind bankers carried. "But that's not what's interesting." Another item. A photograph. "He was looking for someone. Asking everyone." Quinn picked up the photo. Her blood froze. Morris. Three years younger. Standing outside the Raven's Nest with someone she recognized. Silas Thorne. The bar's owner. "Tomás." Her voice came out steady despite the earthquake in her chest. "Your friend at the Nest. How long has he known?" "Detective—" "How. Long." Tomás closed his eyes. "Since the night Morris died. Silas was there too. They were... investigating something. Together." The Market spun around her. Three years of dead ends. Three years of being told Morris was dirty, that he'd been taking bribes, that his death was a deal gone wrong. Three years of lies. "The runner." Her hands shook. "Where in the Spine quarter?" Zhao smiled, too many teeth in a human face. "That information costs extra." "Fine." Quinn reached for her wallet, then stopped. Normal currency probably wasn't accepted here. "What do you want?" "A memory. Fresh. The moment you realized your partner kept secrets." "Done." "Detective, wait." Tomás grabbed her arm. "You don't understand. Once given, memories here are gone. Completely. You'll never get them back." "Good." She shrugged him off. "Some things are better forgotten." Zhao produced the silver blade again. This time, when it touched her skin, Quinn felt the pull. A specific moment crystallizing, then vanishing. The night Morris hadn't come home. The call. The crime scene. The moment she'd seen his body and known, somehow, that the official story was wrong. Gone now. Just facts without the emotional weight. "Spine quarter. Third level down. Look for the bonedoctor's shop." Zhao corked another crystal vial. "Your runner's hunting someone called the Magpie. Same person your partner was hunting." "The Magpie?" "Steals impossible things. Sells them to impossible people." The merchant's fingers drummed patterns that hurt to follow. "Bad for business, you understand. Even we have rules." Water dripped somewhere in the distance. The storm drains. Quinn had almost forgotten the rising flood that brought them here. "We need to go." Tomás checked his watch. "The Market moves at midnight. Anyone still here when it does..." "Stays until next full moon." Zhao waved them off. "Go. Find your answers, Detective. Find your runner. But remember - the Market always collects its debts." They pushed through the crowd, heading deeper into the impossible space. The Spine quarter announced itself with architecture that defied physics. Stairs that climbed down. Doors that opened onto themselves. A fountain that flowed upward, defying gravity with casual indifference. "There." Tomás pointed to a shop sign made of vertebrae. "Bonedoctor Clemence. She'll know if anyone came asking questions." The shop front was medical museum meets butcher shop. Things in jars that might have been human once. Might have been something else. Quinn pushed through the door, hand on her weapon despite its uselessness here. "Closed!" A voice from the back, sharp as surgical steel. "Come back next—Oh. Tomás." The woman who emerged looked like a Victorian photograph come to life. High collar. Severe bun. Hands that had taken apart more bodies than Quinn wanted to contemplate. "Clemence." Tomás nodded. "We're looking for someone." "Aren't we all." Her eyes, colorless as old glass, fixed on Quinn. "Police. How novel. What's the Metropolitan doing in my shop?" "Looking for a man who came asking about the Magpie." Clemence's hands stilled on the bone she'd been polishing. "That's a dangerous question." "I'm used to danger." "Are you?" The bonedoctor set down her work. "Your partner wasn't. Oh yes, I know about him. Everyone here does. The policeman who thought he could catch the uncatchable." "Where's the runner?" "Gone. Ten minutes ago. Very upset when I wouldn't help." Clemence tilted her head. "But you... you're different. You're not here for justice. You're here for truth." "Same thing." "Oh, my dear. Not in the Veil." She moved to a cabinet, withdrawing something wrapped in black silk. "Your partner came here too. Many times. Building a case he said. Learning our ways." "And?" "And the Magpie learned his." Clemence unwrapped the silk. Inside, a bone compass. The needle spun wildly, pointing everywhere and nowhere. "Morris bought this. Said it would lead him to stolen impossibilities. It led him to his death instead." Quinn stared at the compass. Another piece of the puzzle that was her partner's last case. "The runner. Where did he go?" "Up." Clemence pointed to the ceiling, which was also the floor, which was also a wall. "The Magpie has a nest in the between spaces. Your friend went to find it." "He's not my friend. He's a suspect." "In what crime?" Quinn opened her mouth. Closed it. What crime indeed? Breaking into a bar that served impossible clients? Warning people about danger that shouldn't exist? "Tomás." She turned to find him studying a shelf of medical instruments that belonged in no earthly hospital. "You said someone's hunting the Nest's clientele." "Three dead this month. All regular customers. All found with their hearts cut out. Surgically." He glanced at Clemence. "Professionally." "Not my work." The bonedoctor sounded offended. "I only take from the willing dead." "The Magpie then?" "The Magpie steals. Doesn't kill." Clemence rewrapped the compass. "But there are others in the Market who've noticed the pattern. Others who think maybe the police are finally making good on old threats." Quinn felt the accusation hit. "We're not—I'm not—" "Aren't you? A detective in the Veil. Asking questions. Following trails." The bonedoctor smiled, and it was neither kind nor cruel. "What will you do when you find your answers, Detective Quinn? Arrest the darkness? Put handcuffs on shadow?" A bell tolled somewhere. Deep. Resonant. Wrong. "Midnight." Tomás grabbed Quinn's arm. "We need to leave. Now." "The runner—" "Will be trapped here for a month if he hasn't left." He pulled her toward the door. "Move!" The Market was shifting. Quinn felt it in her bones. Stalls folding in on themselves. Architecture rearranging. The impossible becoming impossibly more so. They ran. Through corridors that shortened and lengthened with each step. Past vendors packing away wares that screamed. Around customers who were becoming less human by the second. "There!" Tomás pointed to a service tunnel. Mundane concrete and rust. Beautiful in its normalcy. They dove through as the Market completed its transformation. Quinn looked back once and saw nothing but solid brick wall. As if the impossible cathedral had never been. "Jesus Christ." She leaned against the tunnel wall, breathing hard. "What was that?" "Thursday." Tomás checked his watch. Both their clothes were dry. The flood they'd fled seemed like a dream. "Like I said." Above them, a grate showed glimpses of streetlight. Real London. The London where physics worked and people stayed human-shaped. Tomás boosted her up, then followed. They emerged behind a Costa, the normal world rushing back like a slap. Quinn's radio crackled to life. "DI Quinn, report position. You've been dark for two hours." Two hours. It had felt like minutes. Like years. "Costa on Camden High Street." Her voice sounded strange to her own ears. "In pursuit of suspect." "Negative. Return to station. DCI wants a word." Of course he did. Quinn looked at Tomás, who was watching her with those calm brown eyes. "I should arrest you." "Probably." He touched the Saint Christopher medallion at his throat. "But you won't." "Why?" "Because now you know Morris wasn't dirty. Wasn't mad. Was just trying to protect this city from things it doesn't want to believe in." He turned to go. "The runner, your suspect? He's trying to find the Magpie for the same reason Morris was. Someone's using the Market to hunt humans. Someone who knows both worlds." "Wait." Quinn caught his sleeve. "You said you were there. The night Morris died." "I was." Pain flickered across his features. "Too late. Always too late. But I saw who killed him." "Who?" "The same person who's killing Silas's customers." He met her gaze. "The same person Morris trusted until the very end." Quinn's radio squawked again. More urgent. She ignored it. "Tell me." "Can't. Market law. I traded that memory tonight, remember?" Tomás smiled sadly. "But the runner knows. Find him before the killer does." He melted into the crowd before she could stop him. London swallowed him like the Market swallowed impossibilities. Quinn stood in the drizzle, watching the space where answers had been. Her radio wouldn't shut up. The DCI would want explanations. Reports. Nice normal police words for a night that had torn normal to shreds. Quinn turned it off. Pulled out her mobile instead. Dead. Of course. The Market didn't like technology. But there was a payphone on the corner, ancient and somehow still functional. She fed it coins. Dialed from memory. "Raven's Nest." Silas Thorne's voice. Carefully neutral. "It's Quinn. We need to talk." Silence. Then: "I wondered when you'd call. Morris said you would. Eventually." "He's dead." "I know." Something glass clinked in the background. "Drink?" "I'll be there in twenty." "Detective?" Silas's voice carried weight now. "Come alone. And come ready to believe impossible things." The line died. Quinn hung up. Somewhere in Camden, a Spanish runner was hunting a thief who might be a killer. Somewhere else, the real killer was cutting hearts from bodies. And somewhere in her memory, a traded moment left a hole where grief used to live. She hailed a taxi. "Soho. The Raven's Nest." London blurred past the window. The normal city. The lie everyone agreed to believe. But underneath, in the tunnels and the spaces between, another London pulsed with impossible life. Morris had known. Had tried to protect both worlds. Had died for it. Quinn touched her shoulder where the bruise was already forming. Real pain from an unreal night. In three years of searching, she'd never come this close to the truth. Never wanted to. The taxi pulled up outside the Nest. That green neon sign buzzed like angry wasps. Through the window, shadows moved that didn't match their owners. She paid the driver. Stood in the rain that was just rain, outside a bar that was just a bar. Except it wasn't. Nothing was just anything anymore. Quinn pushed through the door as somewhere beneath the city, the Veil Market settled into its new location, carrying secrets and impossibilities and one trapped runner who might hold all the answers. If he lived through the night. If any of them did.
total_cost0.46155

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags61
adverbTagCount5
adverbTags
0"Water swirled around [around]"
1"He glanced back [back]"
2"Tomás said softly [softly]"
3"Zhao leaned back [back]"
4"Tomás smiled sadly [sadly]"
dialogueSentences189
tagDensity0.323
leniency0.646
rawRatio0.082
effectiveRatio0.053
86.63% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3365
totalAiIsmAdverbs9
found
0
adverb"slowly"
count1
1
adverb"carefully"
count2
2
adverb"softly"
count2
3
adverb"completely"
count1
4
adverb"very"
count2
5
adverb"sadly"
count1
highlights
0"slowly"
1"carefully"
2"softly"
3"completely"
4"very"
5"sadly"
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)
67.31% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3365
totalAiIsms22
found
0
word"shattered"
count1
1
word"calculated"
count1
2
word"weight"
count3
3
word"wavered"
count1
4
word"flickered"
count2
5
word"etched"
count1
6
word"depths"
count1
7
word"navigated"
count1
8
word"practiced ease"
count1
9
word"intensity"
count1
10
word"pulse"
count1
11
word"crystal"
count2
12
word"casual indifference"
count1
13
word"silk"
count2
14
word"normalcy"
count1
15
word"silence"
count1
16
word"pulsed"
count1
highlights
0"shattered"
1"calculated"
2"weight"
3"wavered"
4"flickered"
5"etched"
6"depths"
7"navigated"
8"practiced ease"
9"intensity"
10"pulse"
11"crystal"
12"casual indifference"
13"silk"
14"normalcy"
15"silence"
16"pulsed"
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
narrationSentences324
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount4
hedgeCount3
narrationSentences324
filterMatches
0"watch"
hedgeMatches
0"appeared to"
1"seemed to"
2"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences447
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords3357
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions1
matches
0"Male, she guessed from the build."
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions152
wordCount2171
uniqueNames34
maxNameDensity1.98
worstName"Quinn"
maxWindowNameDensity4
worstWindowName"Zhao"
discoveredNames
Harlow1
Quinn43
High2
Street1
Urgency1
London7
Strange1
Morris8
Water3
Time1
Small1
Pipes1
Greek1
Camden3
Market8
Tomás25
Zhao12
Raven1
Nest2
Thorne2
Normal1
Spine1
Victorian1
Clemence6
Mundane1
Costa1
Saint1
Christopher1
Pain2
Carefully1
Silas3
Spanish2
Veil1
Three6
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Water"
4"Time"
5"Market"
6"Tomás"
7"Zhao"
8"Thorne"
9"Clemence"
10"Saint"
11"Christopher"
12"Pain"
13"Silas"
places
0"High"
1"Street"
2"London"
3"Camden"
4"Raven"
5"Nest"
6"Three"
globalScore0.51
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences162
glossingSentenceCount2
matches
0"something like concern"
1"looked like a Victorian photograph come t"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.596
wordCount3357
matches
0"not at her but past her, as the world tilted"
1"neither kind nor"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences447
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs192
mean17.48
std13.1
cv0.749
sampleLengths
027
13
237
334
424
53
634
77
831
99
105
1116
126
1315
145
1518
165
1733
181
1933
2034
211
2224
232
2410
2529
265
2718
2816
2941
307
3116
3247
331
3435
353
3629
3711
382
3970
402
4132
4219
433
4421
4512
467
4742
4814
497
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences324
matches
0"was gone"
1"being told"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs387
matches
0"was shifting"
1"was watching"
2"was hunting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences447
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2178
adjectiveStacks0
stackExamples(empty)
adverbCount85
adverbRatio0.03902662993572085
lyAdverbCount14
lyAdverbRatio0.006427915518824609
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences447
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences447
mean7.51
std5.71
cv0.76
sampleLengths
04
123
23
311
412
59
65
711
815
98
1012
1112
122
131
147
153
162
179
1813
197
204
214
221
239
246
251
266
279
285
292
301
3111
322
336
348
357
365
3711
381
396
405
419
4210
4314
441
452
4622
479
486
493
64.65% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.4161073825503356
totalSentences447
uniqueOpeners186
85.78% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences272
matches
0"Just overflowing bins and the"
1"Definitely not emergency lighting."
2"Right before he'd walked into"
3"Just facts without the emotional"
4"Of course he did."
5"Somewhere in Camden, a Spanish"
6"Somewhere else, the real killer"
ratio0.026
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences272
matches
0"She shouldered past a group"
1"She drew her torch, sweeping"
2"He shifted weight, trainers squelching"
3"His voice carried an edge"
4"She hit stone hard, shoulder"
5"Her torch was gone."
6"He helped her stand, his"
7"He pointed downstream where the"
8"She thought of Morris, of"
9"They pushed through the rising"
10"He studied them like a"
11"He checked his watch"
12"He turned to face her"
13"he nodded toward the tunnel"
14"He glanced back, eyes serious"
15"It studied Quinn with eyes"
16"He sidestepped a customer whose"
17"He met her eyes."
18"His hand went to the"
19"Her blood froze."
ratio0.158
68.46% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount213
totalSentences272
matches
0"Glass shattered against brick."
1"Detective Harlow Quinn ducked as"
2"The figure ahead vaulted over"
3"Quinn cursed, her leather watch"
4"Morris would've cleared it clean."
5"Camden High Street blurred past"
6"The suspect, hood up, trainers"
7"Quinn's radio crackled static, useless"
8"She shouldered past a group"
9"The suspect glanced back, face"
10"The alley dead-ended at a"
11"She drew her torch, sweeping"
12"Movement behind the bins."
13"The suspect emerged slowly, hands"
14"The hood still obscured his"
15"Quinn's torch caught the edge"
16"He shifted weight, trainers squelching"
17"His voice carried an edge"
18"The ground beneath them groaned."
19"Quinn's torch beam wavered as"
ratio0.783
55.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences272
matches
0"As if the impossible cathedral"
1"If he lived through the"
2"If any of them did."
ratio0.011
76.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount6
matches
0"Pipes and drums and something that might have been singing if singing could sound like silver bells drowning."
1"Impossible architecture stretched before them, a cathedral of brick and iron that shouldn't exist beneath Camden."
2"Gas lamps lined stone walkways that spiralled down into depths the eye couldn't follow."
3"The Spine quarter announced itself with architecture that defied physics."
4"Another piece of the puzzle that was her partner's last case."
5"Quinn pushed through the door as somewhere beneath the city, the Veil Market settled into its new location, carrying secrets and impossibilities and one trapped…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags61
uselessAdditionCount3
matches
0"He shifted, trainers squelching"
1"He helped, his grip steady despite the current tugging at their legs"
2"He glanced back, eyes serious"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"Tomás interrupted (interrupt)"
dialogueSentences189
tagDensity0.011
leniency0.021
rawRatio0.5
effectiveRatio0.011
91.2745%