Run: 2026-02-19-01KHTYR1SNJ5SXMQ1FF5GPNA91

Run Details

Duration:
1m 8s
Cost:
$0.087380
Provider:
Amazon Bedrock

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 suspect's coat whipped around the corner of Shaftesbury Avenue, a flash of dark wool against the neon bleed of theatre marquees. Quinn's boots hammered the pavement. Rain slicked every surface, turned the world into a funhouse of warped reflections. She'd been trailing Herrera for six blocks now, ever since she spotted him slipping out the side door of that Soho bar, the one with the green sign, carrying a leather satchel he clutched to his chest like a newborn. "Stop! Metropolitan Police!" He didn't stop. They never did. She cut through an alley behind a Thai restaurant, garbage bags splitting under her feet and releasing a hot stench of rotting lemongrass. Herrera was fast for someone who didn't look like a runner, olive skin flushed, that ridiculous Saint Christopher medallion bouncing against his sternum as he vaulted a recycling bin. He landed clean. She noted the scar along his left forearm when his sleeve rode up. Knife wound. Old one. The kind you earn, not the kind you get from kitchen accidents. "Herrera! Don't make this harder." He glanced back. Warm brown eyes, wide with something worse than fear. Recognition. He knew who she was. That changed things. Quinn pushed harder, lungs burning against the cold, wet air. Her warrant card slapped against her ribs in its inner pocket. The worn leather watch on her left wrist was soaked, and she could feel it sliding with each pump of her arms. Eighteen years she'd chased people through this city. She knew the rhythm. Suspects ran in patterns, gravitational pulls toward familiar ground. Herrera was heading north. Camden direction. He burst out onto Charing Cross Road and nearly collided with a night bus. The driver leaned on the horn. Herrera stumbled, recovered, and darted across three lanes of traffic that parted around him like a school of startled fish. Quinn followed, palm up toward an oncoming taxi. Brakes screamed. The cabbie's expletive fogged his windscreen. She gained ten metres on the crossing. Close enough now to hear his breathing, ragged and desperate, close enough to see the satchel's brass buckle glinting under streetlights. Whatever he carried mattered more to him than freedom. Four blocks later, the architecture shifted. The polished shopfronts of the West End gave way to Camden's grittier teeth, market stalls shuttered and padlocked, the canal's damp breath rising between buildings. Herrera cut left down a street she knew, then right down one she didn't, some narrow passage between a tattoo parlour and a kebab shop that shouldn't have existed on any map she'd memorised. The passage ended at a stairwell. It descended into what looked like an old Tube entrance, except there was no TfL roundel, no signage, no indication that London Underground had ever claimed this hole in the ground. The tiled walls were grimy Victorian, pale cream ceramic darkened by a century of soot. A single bare bulb hung from a wire at the top of the stairs, swinging in a draft that rose from below, carrying with it a smell Quinn couldn't place. Copper and old paper and something else, something organic and wrong, like flowers left too long in stagnant water. Herrera's footsteps echoed from the depths. Getting fainter. Quinn stopped at the top of the stairwell. Rain ran down the back of her neck and pooled in the hollow of her collarbone. She gripped the iron railing. The metal was warm, which made no sense in this weather. Three years ago, DS Morris had followed a suspect into a basement in Whitechapel. Routine pursuit. Drug runner, they thought. Morris went in alone because Quinn was thirty seconds behind, held up by a locked gate. When she got through, the basement was empty. No suspect. No Morris. Just his radio on the concrete floor, still crackling with static, and a symbol drawn on the wall in something that wasn't paint. They found Morris four days later, wandering the Embankment in his socks. He couldn't remember the basement. Couldn't remember the suspect. Couldn't remember his own middle name. Medical retirement within the month. He still rang her sometimes, at three in the morning, asking about a door he could see when he closed his eyes. A door that moved. Quinn stared down the stairwell. Her phone buzzed. She ignored it. Herrera's footsteps had stopped. Either he'd reached wherever he was going, or he was waiting for her. Neither option appealed. She pulled her torch from her coat pocket. The beam cut through the dark, catching graffiti on the tiled walls as she descended. Not graffiti. Symbols. Spirals and intersecting lines that reminded her of circuit boards, if circuit boards had been designed by someone having a breakdown. The stairs went deeper than any legitimate Tube station. Twenty steps. Thirty. Forty. The air thickened, grew warm, tasted of iron filings on her tongue. At the bottom, a corridor stretched ahead. Old rail tracks ran along the floor, rusted into the concrete. This had been a station once, she could see the platform edge, the curved ceiling, the alcoves where advertisements would have hung. But someone had repurposed the space. Stalls lined both walls. Dozens of them. Canvas awnings strung between pillars. Oil lanterns instead of electric light, casting everything in amber and shadow. The vendors were a cross-section of London's margins: a woman in surgical gloves arranging glass vials filled with liquids that shifted colour when Quinn's torchlight touched them. An old man with fingers too long for his hands, sorting through a tray of what looked like animal teeth. A teenage girl sitting on a Persian rug, surrounded by stacked books, who met Quinn's gaze with pupils that reflected the light like a cat's. The underground market. She'd heard rumours. Intelligence reports she'd dismissed as informant fantasy. A black market for things that shouldn't exist, operating out of abandoned infrastructure, moving locations on a schedule she'd never been able to pin down. Here it was. Real as the rain soaking her coat. She killed her torch. The lantern light was enough, and the beam had already drawn attention. A dozen faces turned her direction. Conversation didn't stop, but it shifted register, dropped an octave. The way a pub falls quiet when the wrong person walks in. Quinn straightened her spine. Military precision, Morris used to call it. Stand like you belong and people fill in the reasons. She scanned the stalls. No sign of Herrera. The corridor branched ahead, splitting into what might have been maintenance tunnels. He could have taken any of them. She moved forward, keeping her hands visible, aware of every eye tracking her passage. "Help you, love?" The voice belonged to a man behind a counter made from a repurposed church pew. He sold maps. Hand-drawn, on parchment that looked older than the station. His fingers were stained with ink up to the wrist. "Looking for someone." "Course you are. Everyone's looking for someone down here." He smiled. Three gold teeth. "Question is, are they looking for you?" "Olive skin. Dark hair. Carrying a leather satchel." "Could be anyone." Quinn leaned on the counter. Close enough to see the tattoo behind his ear. Same spiral pattern as the walls. "Could be. But isn't." The map seller's smile faded. He glanced past her shoulder. Quinn caught it, the micro-expression, the way his eyes flicked to something behind her and then returned with calculated blankness. She didn't turn around. Turning around was how you showed weakness in a place like this. Instead she shifted her weight to the balls of her feet and watched the map seller's pupils for the reflection of whoever was approaching. "You've got the wrong stall." His voice had dropped. "And the wrong market. And mate, you don't have a bone token, so technically you're not here." "Bone token." "Entry requirement. No token, no market. Rules aren't mine." "Whose rules?" He laughed. Short, humourless. The sound bounced off Victorian tiles and came back warped. "Go home, officer." Quinn's jaw tightened. She hadn't shown her warrant card. She hadn't identified herself since Shaftesbury Avenue, six blocks and a reality away. Which meant he'd been told. Which meant Herrera had come through here and sent word ahead. Which meant Herrera was still close. The reflection in the map seller's eyes shifted. The figure behind her had stopped moving. Five metres back, maybe six. Quinn catalogued escape routes. The branching tunnel to her left, partially blocked by a stall selling bottled smoke. The platform edge to her right, a drop onto dead tracks. Back the way she came, forty stairs up to the rain and the real world. The figure behind her spoke. Spanish accent, soft, stripped of the panic she'd heard on the street. "You shouldn't have followed me down here, Detective Quinn." She turned. Herrera stood between two stalls, the satchel open in his arms. Inside it, packed in straw like eggs, sat six glass vials filled with something that pulsed with its own faint light, a blue-white luminescence that cast his features in morgue-slab pallor. His hands were steady. His eyes were not. "Those vials. What's in them?" "Something that's going to save a lot of lives." He shifted the satchel behind him. "Or end yours, if you try to take them." "That a threat?" "A medical opinion." The market had gone silent. Not quiet. Silent. The kind of silence that precedes violence, a held breath before a scream. Quinn registered it in her peripheral vision: stalls closing, canvas dropping, lanterns being hooded. The vendors were packing up. Fast and practised, like they'd rehearsed this exact scenario. "Whatever you think you're doing here," Herrera said, "whatever case you think you're building, you need to walk away." "I don't walk away." "I know. That's what worries me." He took a step back, deeper into the tunnel's shadow. "You've been pulling threads for months. Surveillance on the Nest. ANPR on cars outside. Warrant applications that keep getting denied." She said nothing. "The denials aren't bureaucracy." Another step back. "They're protection. For you." "From what?" Herrera opened his mouth to answer. Behind Quinn, at the far end of the platform, something scraped along the tracks. Metal on metal, a shriek that vibrated in her teeth. The remaining lanterns guttered. One blew out. In the sudden half-dark, the vials in Herrera's satchel burned brighter, and in their glow Quinn saw his face change, saw the colour drain from it like water from a broken glass. "Too late," he whispered. The scraping sound came again, closer, and every remaining light in the market went out at once.
created_at"2026-02-19T12:42:08.573Z" 2/19/2026, 12:42:08 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4262
moderation_latency144
generation_time67592
tokens_prompt4663
tokens_completion2771
native_tokens_prompt4721
native_tokens_completion2551
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"
usage0.08738
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"28ea613f-5c41-4e46-8b10-3526805de4a7"
is_byokfalse
latency4262
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771504928-DQlbdR7eJstq7fGB1NrI"
upstream_id"28ea613f-5c41-4e46-8b10-3526805de4a7"
total_cost0.08738
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences29
tagDensity0.207
leniency0.414
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1769
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
57.60% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1769
totalAiIsms15
found
0
word"could feel"
count1
1
word"familiar"
count1
2
word"glinting"
count1
3
word"footsteps"
count2
4
word"echoed"
count1
5
word"depths"
count1
6
word"electric"
count1
7
word"scanned"
count1
8
word"flicked"
count1
9
word"calculated"
count1
10
word"weight"
count1
11
word"pulsed"
count1
12
word"silence"
count1
13
word"vibrated"
count1
highlights
0"could feel"
1"familiar"
2"glinting"
3"footsteps"
4"echoed"
5"depths"
6"electric"
7"scanned"
8"flicked"
9"calculated"
10"weight"
11"pulsed"
12"silence"
13"vibrated"
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
narrationSentences169
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences169
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences191
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1764
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
96.34% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1584
uniqueNames25
maxNameDensity1.07
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Herrera"
discoveredNames
Shaftesbury2
Avenue2
Herrera14
Soho1
Thai1
Saint1
Christopher1
Charing1
Cross1
Road1
West1
End1
Camden2
Tube2
TfL1
London2
Underground1
Victorian2
Quinn17
Morris5
Whitechapel1
Embankment1
Persian1
Three2
Which3
persons
0"Herrera"
1"Saint"
2"Christopher"
3"Underground"
4"Victorian"
5"Quinn"
6"Morris"
7"Which"
places
0"Shaftesbury"
1"Avenue"
2"Soho"
3"Charing"
4"Cross"
5"Road"
6"West"
7"End"
8"Camden"
9"London"
10"Whitechapel"
11"Three"
globalScore0.963
windowScore1
98.45% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences97
glossingSentenceCount2
matches
0"looked like an old Tube entrance, except"
1"looked like animal teeth"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1764
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences191
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean25.57
std25.27
cv0.988
sampleLengths
022
158
23
36
484
55
613
75
83
970
1056
1137
1265
136
1495
158
1640
1771
1858
195
206
2120
2272
2346
244
2592
2638
2710
2844
2921
3041
313
3237
333
3421
358
363
3720
384
3930
4040
4126
422
439
442
4514
463
4738
486
4964
99.03% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences169
matches
0"been designed"
1"been told"
2"being hooded"
76.54% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs270
matches
0"was heading"
1"was going, was waiting"
2"was approaching"
3"were packing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences191
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1589
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.025173064820641914
lyAdverbCount2
lyAdverbRatio0.0012586532410320957
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences191
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences191
mean9.24
std7.59
cv0.822
sampleLengths
022
15
213
340
43
53
63
723
829
93
1013
112
122
1312
145
153
169
171
185
193
2010
2111
2222
238
244
259
264
272
2814
296
3020
318
322
336
347
3521
369
376
3825
3934
406
4131
4215
4330
4419
456
462
478
4816
495
74.69% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.47643979057591623
totalSentences191
uniqueOpeners91
45.35% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences147
matches
0"Just his radio on the"
1"Instead she shifted her weight"
ratio0.014
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences147
matches
0"She'd been trailing Herrera for"
1"He didn't stop."
2"They never did."
3"She cut through an alley"
4"He landed clean."
5"She noted the scar along"
6"He glanced back."
7"He knew who she was."
8"Her warrant card slapped against"
9"She knew the rhythm."
10"He burst out onto Charing"
11"She gained ten metres on"
12"It descended into what looked"
13"She gripped the iron railing."
14"They found Morris four days"
15"He couldn't remember the basement."
16"He still rang her sometimes,"
17"Her phone buzzed."
18"She ignored it."
19"She pulled her torch from"
ratio0.252
75.65% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount113
totalSentences147
matches
0"The suspect's coat whipped around"
1"Quinn's boots hammered the pavement."
2"Rain slicked every surface, turned"
3"She'd been trailing Herrera for"
4"He didn't stop."
5"They never did."
6"She cut through an alley"
7"Herrera was fast for someone"
8"He landed clean."
9"She noted the scar along"
10"The kind you earn, not"
11"He glanced back."
12"He knew who she was."
13"That changed things."
14"Quinn pushed harder, lungs burning"
15"Her warrant card slapped against"
16"The worn leather watch on"
17"She knew the rhythm."
18"Herrera was heading north."
19"He burst out onto Charing"
ratio0.769
34.01% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences147
matches
0"Either he'd reached wherever he"
ratio0.007
31.25% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences64
technicalSentenceCount10
matches
0"Herrera was fast for someone who didn't look like a runner, olive skin flushed, that ridiculous Saint Christopher medallion bouncing against his sternum as he v…"
1"Herrera stumbled, recovered, and darted across three lanes of traffic that parted around him like a school of startled fish."
2"Just his radio on the concrete floor, still crackling with static, and a symbol drawn on the wall in something that wasn't paint."
3"Spirals and intersecting lines that reminded her of circuit boards, if circuit boards had been designed by someone having a breakdown."
4"The vendors were a cross-section of London's margins: a woman in surgical gloves arranging glass vials filled with liquids that shifted colour when Quinn's torc…"
5"A teenage girl sitting on a Persian rug, surrounded by stacked books, who met Quinn's gaze with pupils that reflected the light like a cat's."
6"A black market for things that shouldn't exist, operating out of abandoned infrastructure, moving locations on a schedule she'd never been able to pin down."
7"Hand-drawn, on parchment that looked older than the station."
8"Inside it, packed in straw like eggs, sat six glass vials filled with something that pulsed with its own faint light, a blue-white luminescence that cast his fe…"
9"Metal on metal, a shriek that vibrated in her teeth."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"he whispered (whisper)"
dialogueSentences29
tagDensity0.069
leniency0.138
rawRatio0.5
effectiveRatio0.069
89.6310%