Run: 2026-02-19-01KHTYJK2W3S7V782BN1PPFJVJ

Run Details

Duration:
2m 15s
Cost:
$0.001945
Provider:
DeepInfra

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
Harlow Quinn vaulted the low brick wall, her boots splashing into a murky puddle that soaked through to her socks. Ahead, a dark shape vanished around the corner of a laundrette, leaving only the echo of clattering bins in its wake. She didn’t shout, *stop, police*. Not here. Not for this one. She had been watching The Raven's Nest for three nights straight, parked in her unmarked car two streets over, nursing lukewarm coffee and a conviction that grew colder and harder with each passing hour. The green neon sign buzzed like an insect against the wet bricks. Then, just after two AM, he’d slipped out the service door. Not Silas, the owner, but one of his regular runners—a wiry kid with a messenger bag slung crosswise. He’d spotted her, of course. They always did. The chase was a blur of slick cobblestones and the orange sodium glow of streetlamps painting the rain in oily streaks. Her breath plumed in the cold air, matching pace with her heart. Eighteen years on the force, three since Morris, and her body still answered the call with a furious, practised efficiency. The kid was fast, younger, but Quinn knew these streets. She’d cut him off at the old railway arch. Except he didn’t head for the arch. He took a hard right, ducking into a narrow alley choked with overflowing wheelie bins. Quinn followed, the smell of rotting vegetables and wet cardboard thick in the air. At the alley’s dead end was a rusted service door for what used to be a pie shop. The kid was already through it. She shoved the door open. Not a shop. A stairwell, descending into blackness. The air changed instantly, damp and cool, carrying a faint, coppery tang she recognised from evidence lockers and bad dreams. Distant, echoing chatter drifted up, along with the low hum of generators and the smell of ozone and burnt herbs. *Underground.* Her left hand went to her radio on instinct. Her right to the worn leather of her watch strap. Morris’s watch. The one they’d found beside him, still ticking. She paused on the top step, the street sounds muffled behind her. Procedure said call it in. Wait for backup. Contain the perimeter. Procedure hadn’t saved Morris. He’d followed a hunch down a similar set of stairs in Shoreditch. They’d found him two days later in the Thames, his lungs full of clean water and his eyes wide with something the coroner couldn’t name. *Unexplained circumstances*. The file was still on her desk. The kid’s footsteps faded on the concrete below. Quinn started down, each step a quiet concession. The stairs spiralled, the walls shifting from modern brick to older, curved tile. An abandoned Tube station. She’d heard the whispers, of course. Coppers' tales over late-night pints. A market that moved. A place where you could buy things that weren’t in any evidence catalogue. The chatter grew louder, resolving into distinct voices bartering, arguing, whispering. A flickering, sourceless light painted the archway at the bottom of the stairs a sickly green. She slowed, pressing herself against the cold tile. The cavern opened before her, vast and impossible. The old Camden Town station platform stretched into gloom, but it had been transformed. Stalls constructed from scrap wood and frayed velvet lined the walls, their canopies glowing with witch-light or humming with mismatched electrical cables. The air was a thick soup of smells: incense, hot metal, decaying parchment, and something sweetly rotten. Figures moved through the haze, their shapes indistinct, some cloaked, others in modern streetwear that looked violently out of place. And there, maybe thirty yards away, weaving through the crowd with the messenger bag hugged tight to his chest, was the kid. A figure stepped into her path. Tall, hooded, blocking her view. “Token.” The voice was gravel rubbed on stone. Quinn’s hand rested on the grip of her extendable baton. “Detective.” “Not down here, you’re not.” A pale hand emerged from the sleeve, palm up. “Bone token. Or turn around.” She looked past him, searching for the kid. He was at a stall now, talking to a hunched figure behind a counter littered with small, twinkling bottles. Handing over the bag. Receiving a small, wrapped package. “I don’t have a token.” “Then you’re sightseeing.” The hood shifted. She caught a glimpse of a face that was all sharp angles and eyes like chips of obsidian. “And we don’t do tours.” Morris’s watch felt heavy on her wrist. *He’d gone in without backup. He’d gone in alone.* The official report suggested recklessness. Quinn knew it was trust. Trust in a source. Trust that turned out to be a set-up. The kid finished his transaction and melted back into the crowd, heading deeper into the market, towards the dark mouth of a disused tunnel. “Last chance,” the sentinel rumbled. Procedure was a warm, well-lit room. It was statements and warrants and chain of custody. This place was the opposite. It was the whisper behind the crime scene tape. It was the evidence that went missing from lock-ups. It was Morris’s empty, staring eyes. Quinn’s fingers tightened on the baton. She could take him. One quick strike to the knee, another to the head. She’d done it before. But then every eye in the Veil Market would be on her. She’d be the copper who broke the rules, the one who brought the law into their lawless place. She’d never find the kid. She’d never find what was in that package. She’d never know what Morris had been chasing. She took a step back, raising her hands slightly, palms out. A gesture of retreat. The sentinel nodded, once, and faded back into the shadows near the wall. Quinn turned and walked back up the stairs, her footsteps measured, deliberate. At the top, she pushed open the service door and stepped back into the alley. The rain had lessened to a fine mist. She took out her phone, thumb hovering over her supervisor’s number. She looked at the dark doorway. She thought of the kid’s face, pale and determined. She thought of the wrapped package. She thought of the green neon sign of The Raven's Nest, and the man named Silas who held court behind its bar. Her thumb moved away from the call button. She opened a notes app instead and began to type, her back against the wet brick wall, her eyes fixed on the door. *Abandoned Tube access. Camden. Possible black market. Observed transaction: messenger bag for small parcel. Runner connected to The Raven’s Nest. Sentinel demanded ‘bone token’ for entry. No engagement.* She saved the note. Then she opened her contacts, scrolling past official numbers until she found one saved simply as ‘T’. Tomas Herrera. The paramedic who’d lost his license. The one who patched up people who didn’t go to hospital. The one who might know the price of a bone token. She hit dial. It rang twice. “Quinn.” His voice was calm, warm, touched with a Spanish accent. “It’s late. This isn’t about my paperwork again, is it?” “I need a guide,” she said, her voice low. The rain dripped from the gutter above her head. “Someone who knows the places off the maps.” A pause on the line. She heard the faint sound of a television in the background, then the click of it being turned off. “Those places,” Tomas said slowly, “they have rules. Different rules.” “I know. I just saw the door.” Another pause, longer this time. “You went in?” “I looked.” “And?” “And I’m still outside.” She glanced at the service door. “For now.” “Good.” She heard him sigh, the rustle of fabric. “Stay there. Do not go back down. Not tonight.” “The runner got away with something.” “Runners always do. That’s their job.” His tone shifted, becoming firm, almost medical. “Listen to me, Harlow. You are a detective. You shine a light. The things down there… they thrive in the dark. A light attracts more than it reveals.” He was talking about Morris. They never said his name, but he was always there, between the words. “What’s a bone token, Tomas?” Silence. Then, “Currency. For passage. Not something you get from a cashpoint.” “How do I get one?” “You don’t.” The finality in his voice was absolute. “Not if you want to stay you. A token means you’ve traded something. A piece of yourself. For knowledge. For power. For entry.” She heard the faint chink of metal against metal. His Saint Christopher medal, maybe. “Some doors, Quinn, are better left unopened.” She looked at the dark doorway, then down at her phone. The kid was gone. The package was gone. But the market was still there. And Silas was still at The Raven's Nest. And Morris was still dead. “He went in alone,” she said, the words escaping before she could stop them. Tomas understood. “And you think going in with me is different?” “It’s not alone.” “It’s worse.” His voice was soft now. “It’s responsibility. If I take you in there, I answer for what happens to you. My… colleagues… they would have questions.” Quinn closed her eyes. The images flashed: Morris’s watch. The sentinel’s obsidian eyes. The green glow of the market. The wrapped package changing hands. “Meet me,” she said. “Tomorrow. My usual place. Just talk.” “Just talk,” he repeated, the skepticism clear. “Alright. Ten o’clock. But Quinn?” “Yeah?” “Bring coffee. And don’t wear your boots. The mud down there… it stains.” The line went dead. Quinn lowered the phone. The service door stared back at her, a dark mouth in the brickwork. She took one last look, memorising the alley, the position of the bins, the rust patterns on the metal. Then she turned and walked away, her footsteps echoing on the wet cobbles, leaving the entrance to the Veil Market behind her. For now.
created_at"2026-02-19T12:39:09.669Z" 2/19/2026, 12:39:09 PM
model"deepseek/deepseek-v3.2-20251201"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency812
moderation_latency(null)
generation_time135345
tokens_prompt4663
tokens_completion2602
native_tokens_prompt4220
native_tokens_completion2254
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached64
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"
usage0.0019454
router(null)
provider_responses
0
endpoint_id"f270e10b-1d21-4345-9e4e-662ddb5ba441"
id"chatcmpl-RcFM0pHpDMjr1ibQYROlV7fO"
is_byokfalse
latency96
model_permaslug"deepseek/deepseek-v3.2-20251201"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771504749-ySd2FcN7RLze7O2jrjUE"
upstream_id"chatcmpl-RcFM0pHpDMjr1ibQYROlV7fO"
total_cost0.0019454
cache_discount0.00000832
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags15
adverbTagCount1
adverbTags
0"Tomas said slowly [slowly]"
dialogueSentences41
tagDensity0.366
leniency0.732
rawRatio0.067
effectiveRatio0.049
90.93% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1653
totalAiIsmAdverbs3
found
0
adverb"sweetly"
count1
1
adverb"slightly"
count1
2
adverb"slowly"
count1
highlights
0"sweetly"
1"slightly"
2"slowly"
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)
45.55% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1653
totalAiIsms18
found
0
word"echo"
count1
1
word"echoing"
count2
2
word"footsteps"
count3
3
word"resolving"
count1
4
word"gloom"
count1
5
word"constructed"
count1
6
word"velvet"
count1
7
word"sentinel"
count4
8
word"whisper"
count1
9
word"measured"
count1
10
word"determined"
count1
11
word"silence"
count1
highlights
0"echo"
1"echoing"
2"footsteps"
3"resolving"
4"gloom"
5"constructed"
6"velvet"
7"sentinel"
8"whisper"
9"measured"
10"determined"
11"silence"
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
narrationSentences157
matches(empty)
97.36% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount4
hedgeCount1
narrationSentences157
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences182
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords42
totalWords1647
ratio0.026
matches
0"stop, police"
1"Underground."
2"Unexplained circumstances"
3"He’d gone in without backup. He’d gone in alone."
4"Abandoned Tube access. Camden. Possible black market. Observed transaction: messenger bag for small parcel. Runner connected to The Raven’s Nest. Sentinel demanded ‘bone token’ for entry. No engagement."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions51
wordCount1391
uniqueNames18
maxNameDensity0.72
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Quinn10
Raven4
Nest4
Silas3
Morris9
Shoreditch1
Thames1
Tube2
Camden2
Town1
Procedure3
Veil2
Market2
Tomas3
Herrera1
Spanish1
Saint1
Christopher1
persons
0"Quinn"
1"Raven"
2"Silas"
3"Morris"
4"Procedure"
5"Tomas"
6"Herrera"
7"Saint"
8"Christopher"
places
0"Shoreditch"
1"Thames"
2"Camden"
3"Town"
4"Veil"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.607
wordCount1647
matches
0"Not Silas, the owner, but one of his regular runners"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences182
matches
0"Trust that turned"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs63
mean26.14
std20.82
cv0.796
sampleLengths
052
183
272
360
453
51
629
773
88
953
1035
1181
1222
1311
148
1511
1619
1736
185
1929
2038
2124
225
2344
2424
2551
2615
2713
2846
2943
3031
3128
3251
336
3421
3526
3624
3710
387
398
402
411
4212
4318
446
4541
4618
475
4812
495
96.32% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences157
matches
0"been transformed"
1"being turned"
2"was gone"
3"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs219
matches
0"was talking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences182
ratio0.005
matches
0"Not Silas, the owner, but one of his regular runners—a wiry kid with a messenger bag slung crosswise."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount631
adjectiveStacks0
stackExamples(empty)
adverbCount21
adverbRatio0.03328050713153724
lyAdverbCount3
lyAdverbRatio0.004754358161648178
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences182
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences182
mean9.05
std6.33
cv0.7
sampleLengths
020
121
25
32
44
534
612
711
818
95
103
1121
1212
1320
1410
159
167
1715
1814
1918
206
215
223
235
2420
2520
261
279
2810
292
308
3112
325
333
343
354
3612
3725
382
397
408
418
4213
434
446
455
464
4713
4811
4916
46.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats27
diversityRatio0.36813186813186816
totalSentences182
uniqueOpeners67
69.44% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences144
matches
0"Then, just after two AM,"
1"Then she opened her contacts,"
2"Then she turned and walked"
ratio0.021
64.44% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences144
matches
0"She didn’t shout, *stop, police*."
1"She had been watching The"
2"He’d spotted her, of course."
3"They always did."
4"Her breath plumed in the"
5"She’d cut him off at"
6"He took a hard right,"
7"She shoved the door open."
8"Her left hand went to"
9"Her right to the worn"
10"She paused on the top"
11"He’d followed a hunch down"
12"They’d found him two days"
13"She’d heard the whispers, of"
14"She slowed, pressing herself against"
15"She looked past him, searching"
16"He was at a stall"
17"She caught a glimpse of"
18"*He’d gone in without backup."
19"He’d gone in alone.* The"
ratio0.389
57.22% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount116
totalSentences144
matches
0"Harlow Quinn vaulted the low"
1"She didn’t shout, *stop, police*."
2"She had been watching The"
3"The green neon sign buzzed"
4"He’d spotted her, of course."
5"They always did."
6"The chase was a blur"
7"Her breath plumed in the"
8"The kid was fast, younger,"
9"She’d cut him off at"
10"He took a hard right,"
11"Quinn followed, the smell of"
12"The kid was already through"
13"She shoved the door open."
14"A stairwell, descending into blackness."
15"The air changed instantly, damp"
16"Her left hand went to"
17"Her right to the worn"
18"The one they’d found beside"
19"She paused on the top"
ratio0.806
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences144
matches(empty)
ratio0
44.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount7
matches
0"She had been watching The Raven's Nest for three nights straight, parked in her unmarked car two streets over, nursing lukewarm coffee and a conviction that gre…"
1"Stalls constructed from scrap wood and frayed velvet lined the walls, their canopies glowing with witch-light or humming with mismatched electrical cables."
2"Figures moved through the haze, their shapes indistinct, some cloaked, others in modern streetwear that looked violently out of place."
3"She caught a glimpse of a face that was all sharp angles and eyes like chips of obsidian."
4"It was the evidence that went missing from lock-ups."
5"She thought of the green neon sign of The Raven's Nest, and the man named Silas who held court behind its bar."
6"Then she turned and walked away, her footsteps echoing on the wet cobbles, leaving the entrance to the Veil Market behind her."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount3
matches
0"she said, her voice low"
1"She heard, the rustle of fabric"
2"she said, the words escaping before she could stop them"
76.83% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount3
fancyTags
0"Sentinel demanded (demand)"
1"She heard (hear)"
2"he repeated (repeat)"
dialogueSentences41
tagDensity0.171
leniency0.341
rawRatio0.429
effectiveRatio0.146
83.8147%