Run: 2026-02-19-01KHTYNGS207EN94TJVHWG7E0M

Run Details

Duration:
9.4s
Cost:
$0.001189
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The stench hit Detective Harlow Quinn before she even saw the body. A cloying, metallic tang, too sweet for blood, too acrid for decay. It clung to the stale air of the abandoned escalotor shaft, a phantom perfume of something profoundly wrong. Water dripped somewhere in the echoing darkness, a steady, metronomic *plink* that did nothing to soothe the prickle of unease crawling up her spine. Eighteen years on the force, and she’d thought she’d smelled it all, from the charnel house tang of a long-unclaimed corpse to the antiseptic bite of a meticulously cleaned murder scene. This was new. And that meant trouble. Detective Davies, a man whose enthusiasm for the job could best be described as a damp sponge, stood hunched over something near the overturned handrail, his face a mask of mild concern. "Harlow. Glad you could make it. Bit of a mess." Quinn descended the rusted metal stairs with the controlled, economical movements of her military training. Each bootfall resonated in the void. "Bit of a mess" was an understatement. The space was a disaster zone. Graffiti, crude shapes daubed in garish colours, covered the curved walls of the shaft. Discarded junk, mostly rotting cardboard and shredded plastic, littered the floor. And in the centre, sprawled unnaturally, was a body. "Who is it?" Quinn asked, her voice low, cutting through the dripping water and Davies’s wheezing breaths. "No ID on him. Male, mid-thirties, maybe. Looked like he fell. A good fifty feet, by the looks of it." Davies gestured vaguely upwards with a latex-gloved hand. "Landed right on his head." Quinn knelt, ignoring the grit that abraded her knees through the fabric of her trousers. The body lay on its front, limbs splayed at awkward angles. The back of the victim's skull was a ruined landscape of bone and gore, confirming Davies’s assessment of the fall. But something was off. The uniform precision of the trauma, the sheer *completeness* of the destruction, felt… theatrical. Almost too neat, despite the carnage. "He was coming from behind," Quinn murmured, tracing the line of the victim's spine with a gloved finger. "Or going to. Hard to tell with this much damage." She looked around the immediate vicinity of the body. A scattering of loose rubble, not enough to suggest a significant tumble. It looked more like someone had dropped a sack of rocks. *But that didn't make sense.* "The preliminary forensic sweep found nothing significant," Davies offered, ever the helpful assistant. "No weapons, no signs of struggle. Just… gravity. Nasty business, gravity." He gave a short, humourless chuckle. Quinn stood, her sharp jaw set. "Gravity doesn't usually leave the floor pristine, Davies. And it rarely carries a scent like this." She inhaled deeply, trying to isolate the offensive odour. It was a layered thing, underneath the metallic tang, she detected something else… a faint, earthy musk, like damp soil mixed with… ozone? "What's that smell to you?" Davies sniffed the air, a look of mild confusion clouding his features. "Smells like a derelict underground station, Harlow. Grime, damp, a bit of old sewage. Nothing your fancy nose shouldn't be used to by now." "No," Quinn insisted. "There's something else. Something… sharp. Like after a lightning strike, but wrong." She took a few steps away from the body, her eyes scanning every inch of the grimy concrete and rusted metal. The graffiti was juvenile, nonsensical tags and crude symbols. Nothing that screamed ‘cult’ or ‘gang’ or any of the usual suspects for bizarre underworld deaths. "You think it wasn't gravity?" Davies asked, his brow furrowed deeper. "Someone pushed him?" "Perhaps," Quinn conceded. "But if they pushed him from fifty feet up, you'd expect more disruption on the floor. Footprints, scuff marks, debris kicked up. This is too clean. And that smell…" She paused, her gaze falling on a patch of wall to her left. Some of the graffiti there seemed different, more elaborate than the childish scrawls elsewhere. A series of interlocking circles and sharp, angular lines. It wasn't art; it was deliberate. "What are you looking at?" Davies shuffled closer. "This," Quinn said, pointing. "This isn't random tagging. These symbols… they're meant to mean something." She ran her finger over the cool, rough surface. They felt almost imprinted into the concrete, as if etched long ago. "And look at the dust," she added, her eyes narrowing. "Or the lack of it." Davies squinted. "Dust? What dust?" "Exactly," Quinn replied, a slow build of recognition dawning in her mind. "The dust on the floor, the dust on the walls. It's minimal. For a place this abandoned, this derelict, it should be thick. Like a shroud. But here, especially around these symbols, it’s… disturbed. But not in a way that suggests recent activity. More like… it's been *cleared*." She pulled out her phone, the screen a stark white rectangle in the gloom, and snapped a few photos of the symbols. The flash momentarily illuminated a section of the shaft floor that she hadn't paid much attention to before. A faint, almost imperceptible shimmer caught her eye. "Davies, get me the forensics kit. I want samples of this dust. All of it. And a luminol test, just in case." She approached the shimmering patch, her worn leather watch catching the dim light. It was on this patch that the dust seemed thinnest, almost blown away. "Luminol? For a fall?" Davies scoffed, but he was already fumbling with his evidence bag. "For a scent that doesn't belong," Quinn said, her mind racing. The Veil Market. The description of it: "an abandoned Tube station." This place wasn't just abandoned; it had the feel of a place that had been *used*. And then discarded. The entry requirement: a bone token. The schedule: moves locations every full moon. What if this wasn't just an abandoned station? What if it was a *former* location? And what if the victim hadn't fallen, but had been… *discarded* there? And that smell… was it residual enchantment? She looked back at the body, then at the strange symbols on the wall. The symbols on the Veil Compass, the ones etched onto the brass casing to ward off unwanted attention. Some of them had a similar, sharp angularity. The compass needle pointed towards supernatural rifts, portals. What if this dust, this peculiar scent, was the residue of something that had been at this location, something that had left via one of those rifts? "This victim," Quinn said, her voice firm, definitive. "He didn't fall. He was thrown. From somewhere else. And whatever he was involved with left a residue. A calling card." She met Davies's bewildered gaze. "This isn't just a crime scene, Davies. This is a dumping ground. For something that doesn't belong here." Suddenly, a high-pitched whine echoed from further down the shaft, a sound that made Quinn's teeth ache. It was a distressed, electronic shriek, unlike anything she'd ever heard. Davies flinched. "What the devil is that?" he stammered. Quinn ignored him, her eyes fixed on the patch of floor. The shimmering was more pronounced now. And the faint ozone smell was intensifying, mingling with the cloying sweetness of the unknown. Then, with a sickening *snap*, the air around the patch distorted, like looking through heated glass. A crackle of unseen energy filled the void, and the metallic tang of the body’s blood suddenly seemed to dim, as if being consumed. "Get back, Davies!" Quinn roared, shoving him roughly. The shimmering coalesced, a jagged tear forming in the space directly above the disturbed dust. It glowed with an unearthly violet light, and the whine escalated into a piercing scream. And then, something began to emerge from the tear. Not a hand, not a foot, but a segment of glistening, iridescent exoskeleton, clicking and scraping against the air. The scent of ozone and damp earth surged, overpowering everything else. This was no fall. This was an arrival. And the victim was just the first course.
created_at"2026-02-19T12:40:45.609Z" 2/19/2026, 12:40:45 PM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency441
moderation_latency(null)
generation_time9362
tokens_prompt4671
tokens_completion2054
native_tokens_prompt4537
native_tokens_completion1838
native_tokens_completion_images0
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"
usage0.0011889
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency441
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504845-Q5b4NHonizCcfONcctgg"
upstream_id(null)
total_cost0.0011889
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
40.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags25
adverbTagCount4
adverbTags
0"Davies gestured vaguely [vaguely]"
1"She looked around [around]"
2"Davies offered ever [ever]"
3"She inhaled deeply [deeply]"
dialogueSentences35
tagDensity0.714
leniency1
rawRatio0.16
effectiveRatio0.16
92.48% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1329
totalAiIsmAdverbs2
found
0
adverb"suddenly"
count2
highlights
0"suddenly"
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)
51.09% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1329
totalAiIsms13
found
0
word"echoing"
count1
1
word"resonated"
count1
2
word"tracing"
count1
3
word"pristine"
count1
4
word"scanning"
count1
5
word"furrowed"
count1
6
word"etched"
count2
7
word"stark"
count1
8
word"gloom"
count1
9
word"racing"
count1
10
word"echoed"
count1
11
word"glistening"
count1
highlights
0"echoing"
1"resonated"
2"tracing"
3"pristine"
4"scanning"
5"furrowed"
6"etched"
7"stark"
8"gloom"
9"racing"
10"echoed"
11"glistening"
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
narrationSentences97
matches(empty)
98.67% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences97
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences106
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans8
markdownWords12
totalWords1325
ratio0.009
matches
0"plink"
1"completeness"
2"But that didn't make sense."
3"cleared"
4"used"
5"former"
6"discarded"
7"snap"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
73.23% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount977
uniqueNames8
maxNameDensity1.54
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Detective2
Harlow1
Quinn15
Davies12
Veil2
Market1
Compass1
Suddenly1
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Suddenly"
places(empty)
globalScore0.732
windowScore0.833
79.58% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount2
matches
0"seemed different more elaborate than the childish scrawls elsewhere"
1"seemed thinnest almost blown away"
49.06% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.509
wordCount1325
matches
0"Not a hand, not a foot, but a segment of glistening, iridescent exoskeleton, clicking"
1"not a foot, but a segment of glistening, iridescent exoskeleton, clicking"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences106
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs28
mean47.32
std27.19
cv0.574
sampleLengths
0104
142
268
317
433
570
665
730
859
936
1061
1114
1274
138
1451
155
1660
1748
1848
1915
2088
2175
2252
2330
247
2572
268
2785
98.03% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences97
matches
0"been *used"
1"being consumed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs160
matches
0"was intensifying"
88.95% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount2
flaggedSentences2
totalSentences106
ratio0.019
matches
0"It wasn't art; it was deliberate."
1"The description of it: \"an abandoned Tube station.\" This place wasn't just abandoned; it had the feel of a place that had been *used*."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount604
adjectiveStacks0
stackExamples(empty)
adverbCount23
adverbRatio0.0380794701986755
lyAdverbCount7
lyAdverbRatio0.011589403973509934
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences106
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences106
mean12.5
std8.86
cv0.709
sampleLengths
012
112
218
324
431
53
64
732
810
915
106
117
126
1314
1411
159
1617
1728
185
1915
2011
2120
224
2313
241
256
2618
2719
2812
2911
305
3113
3217
336
3425
3513
369
371
385
3912
4024
413
4233
439
4416
4511
463
473
4842
4914
63.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.41509433962264153
totalSentences106
uniqueOpeners44
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences89
matches
0"Almost too neat, despite the"
1"Suddenly, a high-pitched whine echoed"
2"Then, with a sickening *snap*,"
ratio0.034
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount19
totalSentences89
matches
0"It clung to the stale"
1"She looked around the immediate"
2"It looked more like someone"
3"He gave a short, humourless"
4"She inhaled deeply, trying to"
5"It was a layered thing,"
6"She took a few steps"
7"She paused, her gaze falling"
8"It wasn't art; it was"
9"She ran her finger over"
10"They felt almost imprinted into"
11"she added, her eyes narrowing"
12"She pulled out her phone,"
13"She approached the shimmering patch,"
14"It was on this patch"
15"She looked back at the"
16"She met Davies's bewildered gaze"
17"It was a distressed, electronic"
18"It glowed with an unearthly"
ratio0.213
77.98% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount68
totalSentences89
matches
0"The stench hit Detective Harlow"
1"A cloying, metallic tang, too"
2"It clung to the stale"
3"Water dripped somewhere in the"
4"This was new."
5"Detective Davies, a man whose"
6"Quinn descended the rusted metal"
7"Each bootfall resonated in the"
8"The space was a disaster"
9"Graffiti, crude shapes daubed in"
10"Quinn asked, her voice low,"
11"Davies gestured vaguely upwards with"
12"Quinn knelt, ignoring the grit"
13"The body lay on its"
14"The back of the victim's"
15"The uniform precision of the"
16"Quinn murmured, tracing the line"
17"She looked around the immediate"
18"A scattering of loose rubble,"
19"It looked more like someone"
ratio0.764
56.18% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences89
matches
0"*But that didn't make sense.*"
ratio0.011
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount3
matches
0"Water dripped somewhere in the echoing darkness, a steady, metronomic *plink* that did nothing to soothe the prickle of unease crawling up her spine."
1"Quinn knelt, ignoring the grit that abraded her knees through the fabric of her trousers."
2"Suddenly, a high-pitched whine echoed from further down the shaft, a sound that made Quinn's teeth ache."
45.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount4
matches
0"She inhaled deeply, trying to isolate the offensive odour"
1"she added, her eyes narrowing"
2"Quinn said, her mind racing"
3"Quinn said, her voice firm, definitive"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount6
fancyTags
0"Quinn murmured (murmur)"
1"Quinn insisted (insist)"
2"Quinn conceded (concede)"
3"she added (add)"
4"he stammered (stammer)"
5"Quinn roared (roar)"
dialogueSentences35
tagDensity0.343
leniency0.686
rawRatio0.5
effectiveRatio0.343
83.2367%