Run: 2026-02-19-01KHTYKHQ1W4ZDVT7SA14X86MC

Run Details

Duration:
26.9s
Cost:
$0.007520
Provider:
Alibaba

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
Rain lashed against Detective Harlow Quinn's face, blurring the neon smear of Soho into a watercolour nightmare. Her boots slapped against the wet pavement, the rhythm frantic, a desperate staccato that matched the hammering of her heart. Ahead, the figure in the tattered grey coat vaulted over a discarded mattress, landing with a splash that sent dirty water spraying up the alley wall. Quinn did not slow. She powered through the puddle, her sharp jaw set tight, muscles coiled from eighteen years of chasing ghosts and men who thought they could outrun the law. "Stop!" Her voice cracked, raw from the cold air and the shout she had issued three streets back. The suspect ignored her. He scrambled toward a rusted service door beneath a flickering green neon sign that buzzed like an angry hornet. The Raven's Nest. Silas's bar. A known haunt for the weirdos and the lost, but tonight it served as a gateway to something far darker. The man fumbled with the handle, slipped on the slick metal, then yanked the door open. He vanished into the gloom inside. Quinn reached the threshold two seconds later. The air inside smelled of stale beer, old maps, and something copper-sharp that made the hair on her arms stand up. She scanned the dim interior. Tables sat overturned. Bottles lay shattered across the floorboards, their contents pooling in iridescent slicks. No sign of the man. "Come out," she said, hand resting on the grip of her service weapon. "I know you're here." Silence answered her, thick and heavy. Then, a floorboard creaked behind the bar. Quinn moved, low and fast, circling the counter. She found nothing but a swinging door marked 'Private'. She kicked it open. A bookshelf stood against the far wall, slightly askew. Dust motes danced in the beam of her torch where the shelf had dragged across the floor. She pushed. The heavy oak groaned, revealing a narrow staircase spiralling down into darkness. The air rushing up from below carried the scent of ozone, burnt sugar, and wet stone. Not London air. Something older. Something wrong. Quinn checked her watch. The worn leather strap felt tight against her wrist. Three years ago, DS Morris had walked into a situation just like this. He had never walked out. The file claimed accidental drowning, but she knew better. She had seen the look in his eyes the night before he died. Fear. Pure, unadulterated terror of things that did not follow the rules of nature. She holstered her torch and drew her gun. The metal felt cold, solid, real. A grounding weight in a world tilting on its axis. She descended. The stairs ended in a cavernous space that defied the geography of Soho. High vaulted ceilings dripped with condensation. The walls, once tiled in pristine white, now bore graffiti in languages that hurt the eyes to read. This was the Veil Market. She had heard the whispers in the precinct, the jokes about goblins in the Tube, but seeing it stripped the humour away. Stalls lined the platform. Vendors sold jars of glowing insects, bundles of dried fingers, and books bound in skin that seemed to breathe. The crowd parted as she entered. Not out of respect for the badge pinned to her chest, but out of a primal instinct to avoid the predator in their midst. Eyes followed her. Some human, some slit-pupiled, some entirely black. "Bone token or bugger off," a voice rasped. Quinn turned. A vendor with skin like cracked porcelain blocked her path. He held a scale in one hand and a jagged knife in the other. "Metropolitan Police," Quinn said, keeping her voice steady. "I'm looking for a man in a grey coat. Armed and dangerous." The vendor laughed, a sound like grinding stones. "No coppers down here, love. Not unless they pay the toll." He gestured to the scale. "Got a bone? Finger works best. Fresh is better." "I don't have time for this." Quinn sidestepped him, pushing through the throng. Hands reached out to grab her coat, to pick her pockets, to test the warmth of her skin. She shrugged them off, elbowing a creature with too many joints in its arms. The crowd surged, a living tide of desperation and greed. Somewhere ahead, a flash of grey fabric darted between two stalls selling vials of liquid shadow. "There!" She sprinted, shoving a tall, emaciated figure aside. The suspect leaped onto a stall, scattering enchanted trinkets. A glass orb rolled under Quinn's boot. It exploded, releasing a cloud of purple smoke that smelled of lavender and rotting meat. She coughed, waved the fumes away, and kept running. The suspect dropped behind a pillar and threw something. A small sphere hit the ground at Quinn's feet. It hissed, spitting sparks that burned through her trousers. She jumped back, feeling the heat singe her calf. Pain flared, sharp and immediate, but she ignored it. Adrenaline flooded her system, masking the injury. "You can't hide forever!" she shouted. "Not hiding," a voice called back. Young. Male. Terrified. "Just buying time." "For what?" "For them." The market lights flickered. A low hum vibrated through the soles of Quinn's boots. The vendors stopped their haggling. The chatter died. Every head turned toward the far end of the platform where the tracks lay dormant, covered in decades of grime. From the tunnel mouth, shadows detached themselves from the darkness. They moved with a fluid grace that no human could mimic. Tall, cloaked figures with antlers of bone protruding from their heads. The Reapers. Or at least, that's what the junkies called them. Quinn had no name for them. She only knew they meant death. The suspect in the grey coat backed away from the approaching figures, his eyes wide. He looked at Quinn, then at the monsters, then back at Quinn. "Help me," he mouthed. Quinn raised her gun. "Drop the weapon." "I don't have a weapon!" he screamed. "I have the ledger! They want the ledger!" One of the antlered figures raised a long, skeletal hand. The air grew cold, so cold that Quinn's breath plumed in front of her face. Frost crept across the tiles, racing toward her boots. "Last chance," Quinn said, her finger tightening on the trigger. "Step away from them." "They aren't them," the boy said, tears streaming down his face. "They're the cleanup crew." The figure lunged. Quinn fired. The gunshot roared in the enclosed space, deafeningly loud. The bullet struck the creature in the chest, but it passed through the cloak as if hitting smoke. The creature did not slow. It closed the distance in a heartbeat, its hand sweeping out to grab the boy. Quinn tackled the suspect, driving him to the ground just as the skeletal fingers raked the air where his head had been. They rolled, hitting a stack of crates. Wood splintered. The smell of ozone intensified, burning the back of her throat. "Get up!" Quinn grabbed the boy by the collar, hauling him to his feet. "Run!" "Where?" he cried. "They're everywhere!" Quinn scanned the platform. The other vendors had fled, extinguishing their lanterns. Darkness swallowed the edges of the market, leaving only the pool of sickly green light from the central lamps. More figures emerged from the tunnels on either side. They were surrounded. She spotted a maintenance ladder on the far wall, rusted and precarious. It led up to a ventilation shaft. Maybe it led to the street. Maybe it led to a dead end. It was the only option. "That way!" She pointed. They sprinted. The antlered figures gave chase, their movements disjointed yet incredibly fast. They glided over the debris, unhindered by the obstacles that slowed Quinn and the boy. The frost spread faster now, coating the rails in ice. Quinn's boots slipped. She stumbled, catching herself on a stall post. The wood crumbled under her grip, dry as dust. "Keep moving!" she ordered. The boy reached the ladder first. He scrambled up, his hands slipping on the rungs. Quinn covered him, turning to face the lead creature. It stopped ten feet away, tilting its head. No eyes. Just smooth bone where a face should be. "You do not belong here, Detective," a voice echoed, not from the creature, but inside her skull. It sounded like Morris. "Go home, Harlow. Before you join him." Quinn froze. The voice hit her like a physical blow. She gripped her gun tighter, her knuckles white. "Morris is dead." "Is he?" The creature stepped closer. "Or is he just waiting?" A shadow moved behind the creature. Tomás Herrera stepped out from behind a pile of crates, his olive skin pale in the dim light. He wore his Saint Christopher medallion, the silver gleaming faintly. He held a bag of medical supplies in one hand and a scalpel in the other. "Quinn," Tomás said, his voice calm despite the chaos. "Don't listen to it. It's a mimic." "Tomás?" She blinked, confused. "What are you doing here?" "Saving your life, apparently." He tossed a small pouch at the creature. It burst on impact, releasing a cloud of silver dust. The creature shrieked, a sound that shattered the remaining glass in the nearby stalls. It recoiled, clutching its face. "Up the ladder!" Tomás yelled. "Now!" Quinn grabbed the ladder. The metal groaned under her weight. She climbed, hauling the boy up with her. Below, Tomás held his ground, the scalpel glowing with a faint blue light. More figures closed in on him. "Tomás!" Quinn shouted. "Go!" he yelled back. "I'll hold them!" She reached the top of the ladder and kicked open the grate. Cold night air rushed in, smelling of rain and exhaust. Real air. She pulled the boy through the opening onto the wet streets of Camden. "Help me pull him up," she gasped, reaching back down for Tomás. But the ladder shook violently. A screech tore through the night. Tomás looked up, his warm brown eyes meeting hers. He shook his head. "Close it," he said. "Seal the grate." "No!" "Do it, Harlow! Or they all come up!" Another shriek, closer this time. Something grabbed Tomás's ankle. He grunted in pain, slashing at the invisible attacker with the glowing scalpel. The ladder twisted. Rivets popped. Quinn looked at the boy, then down at Tomás. The weight of the decision crushed her chest. If she stayed, they all died. If she closed it, she might lose another partner. She grabbed the heavy iron grate.
created_at"2026-02-19T12:39:41.032Z" 2/19/2026, 12:39:41 PM
model"qwen/qwen3.5-plus-20260216"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency967
moderation_latency(null)
generation_time26874
tokens_prompt4663
tokens_completion2659
native_tokens_prompt4484
native_tokens_completion2386
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.00752
router(null)
provider_responses
0
endpoint_id"71e0f6c3-7815-4734-92d3-8a04f3b0ca91"
id"chatcmpl-183bd8b8-4533-9e2c-ac09-64fc5c4b8729"
is_byokfalse
latency967
model_permaslug"qwen/qwen3.5-plus-20260216"
provider_name"Alibaba"
status200
api_type"completions"
id"gen-1771504781-UUYVbtvjWLHGp9jMl9Qu"
upstream_id"chatcmpl-183bd8b8-4533-9e2c-ac09-64fc5c4b8729"
total_cost0.00752
cache_discount(null)
upstream_inference_cost0
provider_name"Alibaba"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags28
adverbTagCount1
adverbTags
0"he yelled back [back]"
dialogueSentences49
tagDensity0.571
leniency1
rawRatio0.036
effectiveRatio0.036
97.14% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1750
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
45.71% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1750
totalAiIsms19
found
0
word"gloom"
count1
1
word"scanned"
count2
2
word"shattered"
count2
3
word"silence"
count1
4
word"weight"
count3
5
word"pristine"
count1
6
word"predator"
count1
7
word"porcelain"
count1
8
word"warmth"
count1
9
word"flickered"
count1
10
word"vibrated"
count1
11
word"racing"
count1
12
word"streaming"
count1
13
word"echoed"
count1
14
word"gleaming"
count1
highlights
0"gloom"
1"scanned"
2"shattered"
3"silence"
4"weight"
5"pristine"
6"predator"
7"porcelain"
8"warmth"
9"flickered"
10"vibrated"
11"racing"
12"streaming"
13"echoed"
14"gleaming"
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
narrationSentences187
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences187
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences209
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen27
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1748
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions57
wordCount1571
uniqueNames21
maxNameDensity1.78
worstName"Quinn"
maxWindowNameDensity4.5
worstWindowName"Quinn"
discoveredNames
Detective1
Harlow1
Quinn28
Soho2
Raven1
Nest1
Silence1
London1
Morris2
Veil1
Market1
Tube1
Hands1
Young1
Reapers1
One1
Herrera1
Saint1
Christopher1
Tomás8
Camden1
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Silence"
4"Morris"
5"Market"
6"Hands"
7"Herrera"
8"Saint"
9"Christopher"
10"Tomás"
places
0"Soho"
1"London"
2"Tube"
3"One"
globalScore0.609
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount2
matches
0"skin that seemed to breathe"
1"as if hitting smoke"
85.58% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.144
wordCount1748
matches
0"Not out of respect for the badge pinned to her chest, but out of a primal instinct to avoid the predator in their mids"
1"not from the creature, but inside her skull"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences209
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs63
mean27.75
std21.61
cv0.779
sampleLengths
094
118
270
353
417
560
637
767
826
964
1063
118
1226
1320
1433
1513
1658
1749
1852
196
2012
212
222
2342
2455
2527
264
277
2815
2934
3014
3115
323
3349
3442
3515
365
3743
3837
394
4058
414
4242
4328
4421
4511
4650
4716
489
4941
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences187
matches
0"were surrounded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs296
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences209
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount361
adjectiveStacks0
stackExamples(empty)
adverbCount6
adverbRatio0.01662049861495845
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences209
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences209
mean8.36
std5.39
cv0.645
sampleLengths
017
120
226
34
427
518
64
719
83
92
1020
1116
126
137
1421
155
163
1712
185
1913
204
216
227
238
249
254
269
2717
282
2912
3016
313
322
332
344
359
3613
375
389
3913
401
4113
428
436
4410
452
4613
476
4818
495
60.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.39712918660287083
totalSentences209
uniqueOpeners83
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences160
matches
0"Then, a floorboard creaked behind"
1"Somewhere ahead, a flash of"
2"Maybe it led to the"
3"Maybe it led to a"
4"Just smooth bone where a"
ratio0.031
95.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences160
matches
0"Her boots slapped against the"
1"She powered through the puddle,"
2"Her voice cracked, raw from"
3"He scrambled toward a rusted"
4"He vanished into the gloom"
5"She scanned the dim interior."
6"she said, hand resting on"
7"She found nothing but a"
8"She kicked it open."
9"He had never walked out."
10"She had seen the look"
11"She holstered her torch and"
12"She had heard the whispers"
13"He held a scale in"
14"He gestured to the scale"
15"She shrugged them off, elbowing"
16"She sprinted, shoving a tall,"
17"It exploded, releasing a cloud"
18"She coughed, waved the fumes"
19"It hissed, spitting sparks that"
ratio0.313
31.88% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount137
totalSentences160
matches
0"Rain lashed against Detective Harlow"
1"Her boots slapped against the"
2"Quinn did not slow."
3"She powered through the puddle,"
4"Her voice cracked, raw from"
5"The suspect ignored her."
6"He scrambled toward a rusted"
7"The Raven's Nest."
8"A known haunt for the"
9"The man fumbled with the"
10"He vanished into the gloom"
11"Quinn reached the threshold two"
12"The air inside smelled of"
13"She scanned the dim interior."
14"Tables sat overturned."
15"Bottles lay shattered across the"
16"she said, hand resting on"
17"Silence answered her, thick and"
18"Quinn moved, low and fast,"
19"She found nothing but a"
ratio0.856
62.50% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences160
matches
0"If she stayed, they all"
1"If she closed it, she"
ratio0.013
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount7
matches
0"Her boots slapped against the wet pavement, the rhythm frantic, a desperate staccato that matched the hammering of her heart."
1"Ahead, the figure in the tattered grey coat vaulted over a discarded mattress, landing with a splash that sent dirty water spraying up the alley wall."
2"She powered through the puddle, her sharp jaw set tight, muscles coiled from eighteen years of chasing ghosts and men who thought they could outrun the law."
3"He scrambled toward a rusted service door beneath a flickering green neon sign that buzzed like an angry hornet."
4"Pure, unadulterated terror of things that did not follow the rules of nature."
5"It exploded, releasing a cloud of purple smoke that smelled of lavender and rotting meat."
6"The creature shrieked, a sound that shattered the remaining glass in the nearby stalls."
71.43% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags28
uselessAdditionCount3
matches
0"Quinn said, her finger tightening on the trigger"
1"the boy said, tears streaming down his face"
2"She blinked, confused"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount9
fancyTags
0"she shouted (shout)"
1"he mouthed (mouth)"
2"he screamed (scream)"
3"he cried (cry)"
4"she ordered (order)"
5"Tomás yelled (yell)"
6"Quinn shouted (shout)"
7"he yelled back (yell)"
8"she gasped (gasp)"
dialogueSentences49
tagDensity0.306
leniency0.612
rawRatio0.6
effectiveRatio0.367
83.9976%