Run: 2026-02-20-01KHXQ7N9FH2VDWAEYFCQA07BG

Run Details

Duration:
1m 9s
Cost:
$0.001162
Provider:
Mistral

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 flapped like a broken wing as he ducked into the mouth of the abandoned Tube station. Detective Harlow Quinn didn't hesitate, her polished black shoes splashing through puddles that reflected the sickly green glow of the station's flickering neon sign. The rain drummed a staccato rhythm on her trench coat, the fabric growing heavier with each step. She could feel the weight of her service revolver against her ribs, a steady reminder of the night's stakes. "Police! Stop!" Her voice echoed through the cavernous entrance, swallowed by the darkness beyond. The suspect was already vanishing into the shadows, his form dissolving like ink in water. Quinn's hand hovered over her torch, but she didn't switch it on. Not yet. The element of surprise was her only advantage down here. The station smelled of damp concrete and something older, something metallic that made her nose twitch. The air was thick with the hum of unseen machinery, the distant drip of water echoing like a slow, steady heartbeat. She moved forward, her steps careful, her eyes scanning the darkness for any sign of movement. A sudden noise to her left—a scuff of shoe on concrete—made her spin, her hand flying to her weapon. But it was just a rat, its beady eyes reflecting the dim light before it scurried away into a dark corner. Quinn exhaled sharply, her breath visible in the cold air. She was getting too old for this. The station stretched out before her, a maze of tunnels and platforms, each one darker than the last. She could hear the distant rumble of a train, but it was too far away to be of any help. She was on her own down here. A flicker of movement caught her eye, and she turned just in time to see the suspect disappearing down a narrow staircase. She cursed under her breath and followed, her hand finally finding the switch for her torch. The beam cut through the darkness, illuminating the grimy walls and the rusted metal railing that led down into the depths of the station. The stairs seemed to go on forever, twisting and turning like a serpent's tail. The air grew colder, the silence more oppressive. She could hear her own heartbeat in her ears, a steady drumbeat that matched the rhythm of her footsteps. She was getting closer. She could feel it. At the bottom of the stairs, she found herself in a vast, open space. The ceiling was high, supported by rows of sturdy columns that stretched out into the darkness. The walls were lined with stalls, their contents hidden behind heavy curtains and locked doors. The air was thick with the scent of incense and something else—something musky and animalistic that made her stomach churn. She was in the Veil Market, a place she had only heard whispers of in the dark corners of the station house. A place where the supernatural and the criminal underworld collided in a twisted dance of power and deception. She had no idea what she was walking into, but she knew she couldn't turn back now. The suspect was nowhere to be seen, but she could feel his presence like a shadow at her back. She moved forward, her torch beam cutting through the darkness, illuminating the strange and wondrous items on display. There were bottles of potions and vials of strange, glowing liquids. There were books with leather covers and strange, arcane symbols etched into their spines. There were weapons of every shape and size, their blades gleaming in the dim light. And there were people. Shadows that moved just beyond the reach of her torch, their eyes gleaming like the eyes of the rat she had seen earlier. She could feel their gazes on her, their whispers like the rustling of dry leaves. She was an outsider here, a stranger in a strange land. And she was armed. She moved forward, her steps cautious, her senses on high alert. She could hear the distant sound of laughter, the clink of glasses, the low murmur of voices speaking in tongues she didn't understand. She was getting closer to the heart of the market, closer to the truth. And then she saw him. The suspect, his back turned to her, his head bent in conversation with a figure cloaked in shadow. She couldn't make out the words, but she could hear the urgency in his voice, the desperation that clung to him like a second skin. She moved closer, her hand hovering over her weapon. She was close enough now to see the bone token around the suspect's neck, the symbol of his allegiance to this twisted underworld. She was close enough to see the fear in his eyes, the way his hands trembled as he reached into his pocket and pulled out a small, wrapped package. The figure in the shadows took the package, their fingers brushing against the suspect's in a gesture that was almost intimate. And then, in a voice that was like the rustling of dry leaves, they spoke. "Tomás Herrera. He's the one you're looking for." Quinn's heart skipped a beat. She knew that name. She had seen it in the files, in the reports of the missing and the dead. She had heard it whispered in the dark corners of the station house, a name that was synonymous with danger and deception. And now she knew where to find him. She moved forward, her torch beam cutting through the darkness, illuminating the face of the figure in the shadows. It was a woman, her features sharp and angular, her eyes gleaming like the eyes of a predator. She was beautiful in a way that was almost inhuman, her lips curved in a smile that was both seductive and dangerous. "Detective Quinn," she said, her voice like the rustling of dry leaves. "I've been expecting you." Quinn's hand flew to her weapon, but before she could draw it, the woman was upon her, her fingers wrapping around Quinn's wrist in a grip that was like a vice. Quinn struggled, but the woman was stronger than she looked, her fingers digging into Quinn's flesh like the claws of a bird of prey. "Let go of me," Quinn growled, her voice low and dangerous. The woman laughed, a sound that was like the rustling of dry leaves. "You're in no position to make demands, Detective," she said, her voice like the rustling of dry leaves. "You're a long way from home, and you're armed. That makes you a threat. And threats are dealt with swiftly in this place." Quinn struggled, but the woman's grip was like iron, her fingers digging into Quinn's flesh like the claws of a bird of prey. She could feel the blood pounding in her temples, the adrenaline coursing through her veins like a river of fire. She was in danger here, in a place where the rules were different, where the stakes were higher, and where the consequences were deadly. And then, just as suddenly as it had begun, the struggle was over. The woman released her grip on Quinn's wrist, her fingers brushing against Quinn's cheek in a gesture that was almost tender. "You're a brave one, Detective," she said, her voice like the rustling of dry leaves. "But bravery won't save you here. Only knowledge will." And with that, she turned and vanished into the shadows, leaving Quinn standing alone in the heart of the Veil Market, her heart pounding in her chest, her mind racing with questions and doubts. She knew she should leave, that she should turn and run back the way she had come. But she couldn't. She was too close now, too close to the truth to turn back. She had to know what was going on here, had to know who Tomás Herrera was and what he was involved in. She moved forward, her torch beam cutting through the darkness, illuminating the strange and wondrous items on display. She could hear the distant sound of laughter, the clink of glasses, the low murmur of voices speaking in tongues she didn't understand. She was getting closer to the heart of the market, closer to the truth. And then she saw him. Tomás Herrera, his back turned to her, his head bent in conversation with a figure cloaked in shadow. She couldn't make out the words, but she could hear the urgency in his voice, the desperation that clung to him like a second skin. She moved closer, her hand hovering over her weapon. She was close enough now to see the bone token around his neck, the symbol of his allegiance to this twisted underworld. She was close enough to see the fear in his eyes, the way his hands trembled as he reached into his pocket and pulled out a small, wrapped package. The figure in the shadows took the package, their fingers brushing against Tomás's in a gesture that was almost intimate. And then, in a voice that was like the rustling of dry leaves, they spoke. "Detective Quinn," they said, their voice like the rustling of dry leaves. "I've been expecting you." Quinn's heart skipped a beat. She knew that voice, had heard it whispered in the dark corners of the station house, a voice that was synonymous with danger and deception. She knew she should turn and run, that she should flee this place and never look back. But she couldn't. She was too close now, too close to the truth to turn back. She moved forward, her torch beam cutting through the darkness, illuminating the face of the figure in the shadows. It was a man, his features sharp and angular, his eyes gleaming like the eyes of a predator. He was handsome in a way that was almost inhuman, his lips curved in a smile that was both seductive and dangerous. "Detective Quinn," he said, his voice like the rustling of dry leaves. "I'm Silas. And you're just in time for the main event." And with that, he turned and vanished into the shadows, leaving Quinn standing alone in the heart of the Veil Market, her heart pounding in her chest, her mind racing with questions and doubts. She knew she should leave, that she should turn and run back the way she had come. But she couldn't. She was too close now, too close to the truth to turn back. She had to know what was going on here, had to know who Tomás Herrera was and what he was involved in. She moved forward, her torch beam cutting through the darkness, illuminating the strange and wondrous items on display. She could hear the distant sound of laughter, the clink of glasses, the low murmur of voices speaking in tongues she didn't understand. She was getting closer to the heart of the market, closer to the truth. And then she saw it. A stage, set up in the center of the market, its curtains drawn back to reveal a figure standing in the spotlight. It was a woman, her features sharp and angular, her eyes gleaming like the eyes of a predator. She was beautiful in a way that was almost inhuman, her lips curved in a smile that was both seductive and dangerous. "Ladies and gentlemen," she said, her voice like the rustling of dry leaves. "Welcome to the Veil Market. Tonight, we have a very special event for you. A demonstration of the power of the supernatural, a display of the dark arts that will leave you breathless and wanting more." Quinn's heart skipped a beat. She knew what was coming, knew what was about to happen. She had seen it before, in the files, in the reports of the missing and the dead. She had heard it whispered in the dark corners of the station house, a name that was synonymous with danger and deception. And then the curtains parted, and the show began.
created_at"2026-02-20T14:28:34.765Z" 2/20/2026, 2:28:34 PM
model"mistralai/mistral-small-3.2-24b-instruct-2506"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency630
moderation_latency(null)
generation_time68892
tokens_prompt4663
tokens_completion2859
native_tokens_prompt4288
native_tokens_completion2444
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"
usage0.001162
router(null)
provider_responses
0
endpoint_id"23fd6b91-74d8-45fc-ac00-cf141ec7f4a5"
id"9275bbf5cb08465393dade5e2868ef1d"
is_byokfalse
latency628
model_permaslug"mistralai/mistral-small-3.2-24b-instruct-2506"
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771597714-uVDPPlMpWI0qpfgEb9WW"
upstream_id"9275bbf5cb08465393dade5e2868ef1d"
total_cost0.001162
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences15
tagDensity0.533
leniency1
rawRatio0
effectiveRatio0
92.52% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2005
totalAiIsmAdverbs3
found
0
adverb"sharply"
count1
1
adverb"suddenly"
count1
2
adverb"very"
count1
highlights
0"sharply"
1"suddenly"
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)
5.24% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2005
totalAiIsms38
found
0
word"could feel"
count5
1
word"weight"
count1
2
word"reminder"
count1
3
word"echoed"
count1
4
word"echoing"
count1
5
word"scanning"
count1
6
word"flicker"
count1
7
word"depths"
count1
8
word"silence"
count1
9
word"oppressive"
count1
10
word"footsteps"
count1
11
word"sturdy"
count1
12
word"stomach"
count1
13
word"churn"
count1
14
word"dance"
count1
15
word"etched"
count1
16
word"gleaming"
count5
17
word"trembled"
count2
18
word"skipped a beat"
count3
19
word"predator"
count3
20
word"pounding"
count3
21
word"racing"
count2
highlights
0"could feel"
1"weight"
2"reminder"
3"echoed"
4"echoing"
5"scanning"
6"flicker"
7"depths"
8"silence"
9"oppressive"
10"footsteps"
11"sturdy"
12"stomach"
13"churn"
14"dance"
15"etched"
16"gleaming"
17"trembled"
18"skipped a beat"
19"predator"
20"pounding"
21"racing"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"air was thick with"
count2
highlights
0"The air was thick with"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences119
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences119
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences126
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2002
ratio0
matches(empty)
83.33% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions2
matches
0"And then, in a voice that was like the rustling of dry leaves, they spoke."
1"And then, in a voice that was like the rustling of dry leaves, they spoke."
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions32
wordCount1879
uniqueNames7
maxNameDensity0.9
worstName"Quinn"
maxWindowNameDensity4.5
worstWindowName"Quinn"
discoveredNames
Tube1
Harlow1
Quinn17
Veil3
Market3
Tomás4
Herrera3
persons
0"Harlow"
1"Quinn"
2"Tomás"
3"Herrera"
places
0"Veil"
globalScore1
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2002
matches(empty)
34.39% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount5
totalSentences126
matches
0"knew that name"
1"leave, that she"
2"knew that voice"
3"run, that she"
4"leave, that she"
66.53% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean47.67
std18.25
cv0.383
sampleLengths
079
153
253
357
445
562
649
765
857
977
1057
1148
1248
1361
1436
158
1647
178
1859
1916
2055
2111
2254
2367
2458
2534
2655
2755
2848
2960
3035
3116
3263
3359
3423
3534
3655
3755
3867
3949
4055
419
96.42% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences119
matches
0"were lined"
1"was involved"
2"was involved"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount9
totalVerbs297
matches
0"was getting"
1"was getting"
2"was walking"
3"was getting"
4"was going"
5"was getting"
6"was going"
7"was getting"
8"was coming"
97.51% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences2
totalSentences126
ratio0.016
matches
0"A sudden noise to her left—a scuff of shoe on concrete—made her spin, her hand flying to her weapon."
1"The air was thick with the scent of incense and something else—something musky and animalistic that made her stomach churn."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1882
adjectiveStacks0
stackExamples(empty)
adverbCount57
adverbRatio0.03028692879914984
lyAdverbCount7
lyAdverbRatio0.0037194473963868225
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences126
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences126
mean15.89
std7.17
cv0.452
sampleLengths
019
124
217
319
414
515
612
72
810
916
1021
1116
1219
1321
1410
157
1618
1720
187
1922
2016
2124
2214
238
2419
254
264
2714
2816
2915
3020
3122
3218
3317
3419
3518
3611
3714
3815
394
4023
4115
4211
434
4411
4523
4614
475
4818
4925
25.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats37
diversityRatio0.15873015873015872
totalSentences126
uniqueOpeners20
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences118
matches(empty)
ratio0
6.44% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount63
totalSentences118
matches
0"She could feel the weight"
1"Her voice echoed through the"
2"She moved forward, her steps"
3"She was getting too old"
4"She could hear the distant"
5"She was on her own"
6"She cursed under her breath"
7"She could hear her own"
8"She was getting closer."
9"She could feel it."
10"She was in the Veil"
11"She had no idea what"
12"She moved forward, her torch"
13"She could feel their gazes"
14"She was an outsider here,"
15"She moved forward, her steps"
16"She could hear the distant"
17"She was getting closer to"
18"She couldn't make out the"
19"She moved closer, her hand"
ratio0.534
44.75% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount98
totalSentences118
matches
0"The suspect's coat flapped like"
1"Detective Harlow Quinn didn't hesitate,"
2"The rain drummed a staccato"
3"She could feel the weight"
4"Her voice echoed through the"
5"The suspect was already vanishing"
6"Quinn's hand hovered over her"
7"The element of surprise was"
8"The station smelled of damp"
9"The air was thick with"
10"She moved forward, her steps"
11"A sudden noise to her"
12"Quinn exhaled sharply, her breath"
13"She was getting too old"
14"The station stretched out before"
15"She could hear the distant"
16"She was on her own"
17"A flicker of movement caught"
18"She cursed under her breath"
19"The beam cut through the"
ratio0.831
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences118
matches(empty)
ratio0
30.50% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences89
technicalSentenceCount14
matches
0"Detective Harlow Quinn didn't hesitate, her polished black shoes splashing through puddles that reflected the sickly green glow of the station's flickering neon…"
1"The suspect was already vanishing into the shadows, his form dissolving like ink in water."
2"She could hear her own heartbeat in her ears, a steady drumbeat that matched the rhythm of her footsteps."
3"The figure in the shadows took the package, their fingers brushing against the suspect's in a gesture that was almost intimate."
4"She had heard it whispered in the dark corners of the station house, a name that was synonymous with danger and deception."
5"She was beautiful in a way that was almost inhuman, her lips curved in a smile that was both seductive and dangerous."
6"Quinn's hand flew to her weapon, but before she could draw it, the woman was upon her, her fingers wrapping around Quinn's wrist in a grip that was like a vice."
7"The woman released her grip on Quinn's wrist, her fingers brushing against Quinn's cheek in a gesture that was almost tender."
8"And with that, she turned and vanished into the shadows, leaving Quinn standing alone in the heart of the Veil Market, her heart pounding in her chest, her mind…"
9"She knew that voice, had heard it whispered in the dark corners of the station house, a voice that was synonymous with danger and deception."
10"He was handsome in a way that was almost inhuman, his lips curved in a smile that was both seductive and dangerous."
11"And with that, he turned and vanished into the shadows, leaving Quinn standing alone in the heart of the Veil Market, her heart pounding in her chest, her mind …"
12"She was beautiful in a way that was almost inhuman, her lips curved in a smile that was both seductive and dangerous."
13"She had heard it whispered in the dark corners of the station house, a name that was synonymous with danger and deception."
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount1
matches
0"Quinn growled, her voice low and dangerous"
83.33% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount1
fancyTags
0"Quinn growled (growl)"
dialogueSentences15
tagDensity0.467
leniency0.933
rawRatio0.143
effectiveRatio0.133
67.0594%