Run: 2026-02-19-01KHTYQNRSS5XPQXVM69YEBHJS

Run Details

Duration:
9.3s
Cost:
$0.000752
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The alley air tasted like stale beer and damp concrete. Detective Harlow Quinn splashed through a puddle, the worn leather of her watch strap slick against her wrist. The man ahead, a blur of cheap nylon and desperation, risked a glance over his shoulder. That was his mistake. Quinn adjusted her pace, military precision kicking in, her boots barely making a sound on the slick asphalt. He was fast, but she was relentless. Her partner, Morris, would have called it 'dogged'. She called it survival. Three years gone, and he stillghosted her every chase, every dead end. 'Keep pace, Harlow,' the phantom echo seemed to whisper, 'They always make a mistake.' He bolted left, a sudden, sharp turn into a narrower passage choked with overflowing bins. The stench intensified, a cloying miasma that made her nostrils flare. He scrambled, his movements frantic, like a rat trapped in a maze. Quinn followed, the glint of metal from the alley's depths catching her eye – a grate, half-hidden by shadow and discarded pallets. Her suspect was good; he didn’t hesitate, kicking it open with a grunt and disappearing into the black maw beneath. For a heartbeat, Quinn paused. The darkness below pulsed with an unnatural stillness, a stark contrast to the frantic pounding of her own heart. This wasn't a standard pursuit anymore. This felt…different. Unsettling. Her hand hovered over the grate, the cold metal biting into her palm. The man had vanished into that subterranean realm. Reporting it would mean a delay, paperwork, and the certainty of losing him. She could imagine the scene back at the station: a captain sighing, a desk sergeant juggling calls, the suspect long gone, dissolved into the city’s vast, indifferent underbelly. Morris wouldn’t have hesitated. He’d have gone looking for answers, even if they were buried six feet under and crawling with things that didn't belong. She took a breath, the metallic tang of the city filling her lungs. This was her case. Her hunt. And whatever lay beneath, it was where he’d gone. She wrestled the heavy grate open, the screech of protesting metal echoing in the confined space. A set of stone steps, slick with an unidentifiable slime, descended into impenetrable blackness. The air that wafted up was thick with the smell of damp earth, something vaguely metallic, and…ozone? No, it was more cloying, like cheap incense and something sickly sweet. She switched on her torch, the beam cutting a trembling path into the gloom. The steps were worn, ancient, suggesting a history far older than any modern sewer system. Quinn descended, her hand trailing the cold, damp stone wall for balance. The sounds of the city above faded with each step, replaced by a low, resonant hum that seemed to vibrate in her bones. The passage opened into a vast cavern, a space that defied logic given its location beneath central London. Strange, flickering lights shimmered in the distance, casting unnerving shadows. The air grew warmer, and the exotic scent intensified. What had started as a chase after a petty thief had inadvertently led her into something far more complex. This was no mere back alley escape route. This felt like a descent into a different world. The cavern was alive with activity, a maelstrom of hushed voices, the clinking of unseen tools, and the pervasive thrum of some arcane energy. Booths lined the cavernous space, their patrons cloaked and hooded, exchanging goods and whispers in hushed tones. This was not what she expected. This was… the Veil Market. She’d heard the whispers, the hushed rumours from informants on the fringes of the supernatural underworld, dismissed as fever dreams of addicts and conspiracy theorists. A place where you could buy anything, if you had the right currency. And her suspect, the man she’d been chasing, was now a part of this clandestine bazaar. He was easy to spot, even in the throng. He stood by a stall laden with shimmering, iridescent vials, his olive skin slick with sweat, his dark curly hair plastered to his forehead. Tomás Herrera. A paramedic. Or he had been, before his licence disappeared after ‘unauthorised treatments’ for ‘special patients’. Quinn’s gaze flickered to his left forearm, the faint outline of a scar visible even in the dim, flickering light. He’d been careless, or desperate, or both. He looked around nervously, his warm brown eyes darting, scanning the crowd. He hadn't seen her yet. Quinn began to weave through the crowd, her movements deliberate, controlled. The space pulsed with an alien energy, the air thick with the scent of exotic spices and something acrid, like burnt honey. The stalls themselves were bizarre: one displayed a collection of grinning skulls, another offered shimmering fabrics that seemed to breathe, and a third was piled high with arcane texts bound in what looked suspiciously like human skin. This was beyond anything she was trained for, beyond the familiar grime and grit of a street-level pursuit. This was a different kind of darkness. She reached the corner of the stall where Herrera stood, her hand reaching inside her jacket, her fingers brushing against the cool metal of her service weapon. He was haggling with the vendor, a hunched figure whose face was obscured by a deep cowl, the vendor’s voice a low rasp. Quinn could hear fragments of their conversation: “…guaranteed to enhance… three drops… potent…” Herrera held up a small, dark vial, his knuckles white. He was buying something illegal, something dangerous. This confirmed her suspicions that he was more than just a petty thief. Her suspect turned then, his eyes widening as he met Quinn’s steady, unflinching gaze. Recognition flashed across his face, quickly replaced by pure panic. He clutched the vial tighter, his other hand reaching for something concealed beneath his worn jacket. That was enough. Quinn moved. She lunged, but before she could reach him, a figure emerged from the shadows between them. Tall, regal, draped in dark velvet, a serpentine amulet coiled around his neck. His features were sharp, aristocratic, and his eyes, burning with an icy intelligence, locked onto Quinn. "Detective," the man purred, his voice like smoke and velvet. "You are rather far from your usual hunting grounds." He gestured to the bustling market. "This is not a place for the uninvited. Or the uniformed soul." Herrera seized the distraction. He spun, darting away from the stall, disappearing into the labyrinthine aisles of the Veil Market. Quinn barely registered the man's words, her focus solely on the fleeing suspect. "Where is he going?" Quinn demanded, her voice tight. The man chuckled, a low, resonant sound that seemed to vibrate through the very stones of the market. "He is seeking sanctuary, perhaps? Or perhaps a swift exit, before the moon wanes and the market shifts its home once more." He tilted his head. "You have a choice, Detective. Pursue the ephemeral thief through these shadowed corridors, or remain and engage with someone who understands the true nature of the shadows you chase." Quinn’s jaw tightened. Her partner’s ghost, her past, her gut – they all screamed danger, screamed the unknown. But Herrera was her suspect. He was involved. And the Veil Market, this place of forbidden commerce, felt like the nexus of the very darkness that had claimed her partner. She looked from the shadowed figure before her to the last place Herrera had been seen. The scent of ozone and something unidentifiable, alluring and terrifying, filled her lungs. She could play the game of shadows, or she could hunt her quarry. The choice was stark. The path ahead, uncertain. A hand, clad in a finely stitched leather glove, appeared from the shadowed figure's robes, holding a single, intricately carved bone token. "A price for passage, Detective. Or a price for knowledge. Your choice."
created_at"2026-02-19T12:41:56.259Z" 2/19/2026, 12:41:56 PM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency456
moderation_latency(null)
generation_time9255
tokens_prompt4663
tokens_completion2010
native_tokens_prompt4507
native_tokens_completion1673
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4085
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"
usage0.00075225
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency456
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504916-hJ43tABBOavpTkGKEfbt"
upstream_id(null)
total_cost0.00075225
cache_discount0.00036765
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.875
leniency1
rawRatio0
effectiveRatio0
84.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1298
totalAiIsmAdverbs4
found
0
adverb"nervously"
count1
1
adverb"quickly"
count1
2
adverb"very"
count2
highlights
0"nervously"
1"quickly"
2"very"
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)
11.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1298
totalAiIsms23
found
0
word"echo"
count1
1
word"whisper"
count1
2
word"glint"
count1
3
word"depths"
count1
4
word"maw"
count1
5
word"pulsed"
count2
6
word"stark"
count2
7
word"pounding"
count1
8
word"standard"
count1
9
word"echoing"
count1
10
word"gloom"
count1
11
word"shimmered"
count1
12
word"complex"
count1
13
word"clandestine"
count1
14
word"flickered"
count1
15
word"scanning"
count1
16
word"familiar"
count1
17
word"velvet"
count2
18
word"sanctuary"
count1
19
word"ephemeral"
count1
highlights
0"echo"
1"whisper"
2"glint"
3"depths"
4"maw"
5"pulsed"
6"stark"
7"pounding"
8"standard"
9"echoing"
10"gloom"
11"shimmered"
12"complex"
13"clandestine"
14"flickered"
15"scanning"
16"familiar"
17"velvet"
18"sanctuary"
19"ephemeral"
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)
69.22% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
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)
analyzedSentences101
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1298
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions30
wordCount1183
uniqueNames7
maxNameDensity1.18
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn14
Morris2
London1
Veil3
Market3
Herrera6
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Herrera"
places
0"London"
globalScore0.908
windowScore0.667
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences74
glossingSentenceCount6
matches
0"tasted like stale beer and damp concrete"
1"hum that seemed to vibrate in her bones"
2"felt like a descent into a different wo"
3"fabrics that seemed to breathe, and a third was piled high with arcane texts bound in what looked suspiciously like human skin"
4"sound that seemed to vibrate through the very stones of the market"
5"felt like the nexus of the very darknes"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1298
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences101
matches(empty)
80.72% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs16
mean81.13
std35.09
cv0.433
sampleLengths
0111
1113
2115
388
4108
5106
695
795
893
945
1045
1137
1233
139
1473
15132
87.18% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences97
matches
0"were buried"
1"was piled"
2"was trained"
3"was obscured"
4"been seen"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs196
matches
0"was haggling"
1"was buying"
57.99% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount1
flaggedSentences3
totalSentences101
ratio0.03
matches
0"Quinn followed, the glint of metal from the alley's depths catching her eye – a grate, half-hidden by shadow and discarded pallets."
1"Her suspect was good; he didn’t hesitate, kicking it open with a grunt and disappearing into the black maw beneath."
2"Her partner’s ghost, her past, her gut – they all screamed danger, screamed the unknown."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount160
adjectiveStacks0
stackExamples(empty)
adverbCount6
adverbRatio0.0375
lyAdverbCount1
lyAdverbRatio0.00625
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences101
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences101
mean12.85
std7.31
cv0.568
sampleLengths
010
118
216
34
418
57
68
74
812
914
1015
1111
1212
1322
1420
155
1619
176
182
191
2013
218
2213
2328
244
2521
2613
274
282
299
3016
3114
3217
3312
3414
3515
3612
3723
3818
3910
409
4119
428
439
4424
4517
466
472
483
4925
39.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.2871287128712871
totalSentences101
uniqueOpeners29
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences90
matches(empty)
ratio0
77.78% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences90
matches
0"He was fast, but she"
1"Her partner, Morris, would have"
2"She called it survival."
3"He bolted left, a sudden,"
4"He scrambled, his movements frantic,"
5"Her suspect was good; he"
6"Her hand hovered over the"
7"She could imagine the scene"
8"He’d have gone looking for"
9"She took a breath, the"
10"She wrestled the heavy grate"
11"She switched on her torch,"
12"She’d heard the whispers, the"
13"He was easy to spot,"
14"He stood by a stall"
15"He’d been careless, or desperate,"
16"He looked around nervously, his"
17"He hadn't seen her yet."
18"She reached the corner of"
19"He was haggling with the"
ratio0.356
26.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount78
totalSentences90
matches
0"The alley air tasted like"
1"Detective Harlow Quinn splashed through"
2"The man ahead, a blur"
3"That was his mistake."
4"Quinn adjusted her pace, military"
5"He was fast, but she"
6"Her partner, Morris, would have"
7"She called it survival."
8"He bolted left, a sudden,"
9"The stench intensified, a cloying"
10"He scrambled, his movements frantic,"
11"Quinn followed, the glint of"
12"Her suspect was good; he"
13"The darkness below pulsed with"
14"This wasn't a standard pursuit"
15"Her hand hovered over the"
16"The man had vanished into"
17"She could imagine the scene"
18"Morris wouldn’t have hesitated."
19"He’d have gone looking for"
ratio0.867
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences90
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences57
technicalSentenceCount2
matches
0"The air that wafted up was thick with the smell of damp earth, something vaguely metallic, and…ozone?"
1"The stalls themselves were bizarre: one displayed a collection of grinning skulls, another offered shimmering fabrics that seemed to breathe, and a third was pi…"
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount1
matches
0"Quinn demanded, her voice tight"
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"Quinn demanded (demand)"
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio1
effectiveRatio0.25
72.6632%