Run: 2026-02-20-01KHXQ7VB7JK5SFHX9AW3PCNG5

Run Details

Duration:
41.1s
Cost:
$0.005302
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The air smelled of damp stone and something older, something that clung to the back of my throat like copper. I crouched beside the body, my knees pressing into the cracked tile of what used to be a Tube platform. The victim lay sprawled on his back, arms splayed as if he’d been dropped from a great height. His face was frozen in an expression of sheer terror, mouth open in a silent scream, eyes wide and glassy. The kind of look that made my stomach twist. "Quinn." Davies stood a few feet away, arms crossed, his usual smirk absent. "You're late." I ignored him, my gaze sweeping over the scene. The abandoned station was one of those forgotten places beneath London, its walls covered in peeling posters and graffiti that glowed faintly under the flickering emergency lights we’d set up. The tracks below were dark, the third rail dead, but the air hummed with a low, unnatural vibration. My skin prickled. "Cause of death?" I asked, though I already knew it wasn’t going to be straightforward. Davies exhaled sharply. "Coroner’s on his way, but no obvious trauma. No blood, no wounds. Just... dead." I reached into my pocket and pulled on a pair of nitrile gloves, the snap of the latex loud in the silence. The victim’s clothes were expensive—tailored suit, polished shoes, a watch that probably cost more than my car. His fingers were clean, no defensive wounds, no signs of a struggle. I leaned in closer, my flashlight cutting through the dim light. The skin around his lips was slightly discoloured, a faint blue tinge that didn’t match the rest of his pallor. "Tox screen?" I asked. "Ordered. But look at this." Davies stepped aside, revealing a small, brass compass lying near the victim’s outstretched hand. It was tarnished, the verdigris patina catching the light. The needle wasn’t pointing north. It wasn’t pointing at anything. It spun lazily, as if confused. I picked it up, turning it over in my gloved fingers. The casing was cold, too cold for something that had been lying on a corpse. Etched into the metal were symbols I didn’t recognise—sigils, maybe, or some kind of script. My pulse quickened. "Where’d this come from?" I asked. Davies shrugged. "Found it clutched in his hand. Almost like he was trying to use it." I frowned. "Trying to use it for what?" "Navigation?" Davies said, deadpan. "It’s a compass, Quinn." I shot him a look. "A compass that doesn’t point north. A man who dies with no visible cause. And you’re telling me this is just some rich bloke who got lost underground?" Davies sighed, rubbing the back of his neck. "I’m saying maybe he had a heart attack. Or an aneurysm. Or maybe he was into some weird kink stuff and it went wrong. You’re the one who’s always talking about Occam’s Razor." I set the compass down and stood, my joints protesting. The platform seemed to stretch endlessly in both directions, the shadows deepening where the emergency lights didn’t reach. "Occam’s Razor doesn’t apply when the simplest explanation is bullshit. This place—" I gestured to the station, the graffiti, the eerie stillness. "This isn’t just abandoned. It’s hidden. And that compass? It’s not normal." Davies followed my gaze, his expression sceptical. "You think this is supernatural?" I didn’t answer. Instead, I walked to the edge of the platform, shining my torch down onto the tracks. The beam caught something metallic glinting in the dark. I hopped down, my boots crunching on broken glass and debris. The object was half-buried in the dirt, but I recognised it immediately—a bone token, carved with the same symbols as the compass. I picked it up, turning it over in my fingers. It was warm, almost alive. "Quinn." Davies’ voice was tight. "What the hell is that?" I pocketed the token, my mind racing. "It’s an entry pass." "To what?" I didn’t answer. Instead, I climbed back onto the platform and walked over to the nearest wall, running my fingers over the graffiti. Some of it was fresh, the paint still tacky. Among the usual tags and obscenities, there were more of those symbols, arranged in patterns that made my eyes ache if I looked at them too long. Davies joined me, his torchlight joining mine. "You’re scaring me, Quinn." I ignored him, my fingers tracing the lines of a particularly complex sigil. "This isn’t just graffiti. It’s a ward. A protection spell, maybe. Or a warning." "A warning for what?" I turned to face him, my voice low. "For whatever’s down here with us." Davies opened his mouth to respond, but the sound of footsteps echoing down the tunnel cut him off. We both turned as a figure emerged from the darkness—a uniformed officer, his face pale. "Detective Quinn?" he called, his voice shaking. "We found something else. Another body. But... it’s not like this one." I exchanged a glance with Davies. "Where?" The officer swallowed hard. "Down the tunnel. Past the service door. You’re not going to believe it." I didn’t. Not at first. The second body was worse. It lay in a small alcove, curled into a foetal position, its limbs twisted at unnatural angles. The skin was stretched too tight over the bones, the face sunken, the eyes long gone. The mouth was open in a silent scream, just like the first victim, but this one had been dead for weeks, maybe months. The smell hit me first—rot and something else, something sweet and cloying, like decaying flowers. Davies gagged, turning away. "Jesus Christ." I crouched beside the body, my torchlight revealing more of the same symbols carved into the wall behind it. These were deeper, older, the edges of the cuts blackened as if burned. The victim’s clothes were rags, the fabric stiff with dried blood. I reached out, hesitating before touching the wrist. The skin was cold, but beneath it, the bones felt wrong. Too light. Too brittle. "Quinn," Davies said, his voice strained. "What the hell is going on?" I stood, my mind racing. Two bodies. Two completely different states of decay. One fresh, one ancient. Both in the same place. Both with the same symbols. Both dead without explanation. And then there was the compass. I pulled it out of my pocket, the brass cold against my skin. The needle was still spinning, but now it seemed to be moving faster, as if agitated. I held it up, watching as it jerked toward the wall, the symbols glowing faintly in the torchlight. Davies noticed it too. "Quinn, what is that thing doing?" I didn’t answer. Instead, I walked toward the wall, the compass leading me like a divining rod. The symbols pulsed as I approached, the air growing thicker, heavier. My breath came faster, my heart pounding in my chest. The needle of the compass locked into place, pointing directly at one of the sigils—a circle with a line through it, like a no-entry sign. I reached out, my fingers hovering over the symbol. The moment I touched it, the wall shimmered, the bricks blurring like heat haze. A low hum filled the air, vibrating through my bones. The compass grew hot in my hand, the needle spinning wildly before snapping off and clattering to the ground. Davies grabbed my arm, yanking me back. "Quinn, what the fuck did you just do?" I stared at the wall, my pulse roaring in my ears. The bricks were solid again, the symbols still. But something was different. The air felt charged, like the moment before a storm breaks. And then I saw it. A shadow. Not cast by anything in the tunnel. Not from our torches or the emergency lights. A shadow that moved on its own, slithering along the wall like liquid darkness. It pooled at the base of the sigil, growing larger, darker, until it took shape—a figure, tall and thin, its edges blurred as if it weren’t entirely there. Davies saw it too. His grip on my arm tightened. "Quinn..." The shadow stretched toward us, its form shifting, elongating. A voice whispered from the darkness, a sound like dry leaves scraping against stone. *"You shouldn’t be here."* I stumbled back, my hand going to my sidearm. The shadow recoiled, then surged forward, faster this time. Davies shouted, pulling me away as the darkness lunged, passing through us like smoke. The cold was unbearable, seeping into my bones, my lungs, my heart. I gasped, doubling over as pain lanced through my chest. And then, just as suddenly as it had appeared, the shadow was gone. Silence. Davies was on his knees, breathing hard. "What the hell was that?" I didn’t answer. I couldn’t. My mind was racing, piecing together the fragments—the compass, the symbols, the bodies. The way the shadow had moved. The way it had spoken. This wasn’t a murder. This was a warning. I pulled out my phone, my fingers trembling as I dialled. The line rang once before she picked up. "Eva," I said, my voice steady despite the adrenaline coursing through me. "I need you to meet me. Now. And bring everything you’ve got on the Veil Market."
created_at"2026-02-20T14:28:40.958Z" 2/20/2026, 2:28:40 PM
model"mistralai/mistral-large-2512" 1/1/2512, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1024
moderation_latency(null)
generation_time40982
tokens_prompt4671
tokens_completion2340
native_tokens_prompt4322
native_tokens_completion2094
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"
usage0.005302
router(null)
provider_responses
0
endpoint_id"fa718841-07ea-4b7e-b8a3-6069545c7e6a"
id"2de35c7719844b9b84d432a85a3634dd"
is_byokfalse
latency1024
model_permaslug"mistralai/mistral-large-2512" 1/1/2512, 12:00:00 AM
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771597720-Xv90k43AfRXwQVgqUM5k"
upstream_id"2de35c7719844b9b84d432a85a3634dd"
total_cost0.005302
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
totalTags10
adverbTagCount1
adverbTags
0"Davies stepped aside [aside]"
dialogueSentences38
tagDensity0.263
leniency0.526
rawRatio0.1
effectiveRatio0.053
83.80% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1543
totalAiIsmAdverbs5
found
0
adverb"sharply"
count1
1
adverb"slightly"
count1
2
adverb"lazily"
count1
3
adverb"completely"
count1
4
adverb"suddenly"
count1
highlights
0"sharply"
1"slightly"
2"lazily"
3"completely"
4"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
28.71% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1543
totalAiIsms22
found
0
word"stomach"
count1
1
word"silence"
count2
2
word"tinge"
count1
3
word"etched"
count1
4
word"pulse"
count2
5
word"quickened"
count1
6
word"glinting"
count1
7
word"almost alive"
count1
8
word"racing"
count3
9
word"tracing"
count1
10
word"complex"
count1
11
word"footsteps"
count1
12
word"echoing"
count1
13
word"pulsed"
count1
14
word"pounding"
count1
15
word"shimmered"
count1
16
word"roaring"
count1
17
word"charged"
count1
highlights
0"stomach"
1"silence"
2"tinge"
3"etched"
4"pulse"
5"quickened"
6"glinting"
7"almost alive"
8"racing"
9"tracing"
10"complex"
11"footsteps"
12"echoing"
13"pulsed"
14"pounding"
15"shimmered"
16"roaring"
17"charged"
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
narrationSentences127
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences127
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences155
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords4
totalWords1533
ratio0.003
matches
0"\"You shouldn’t be here.\""
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
82.81% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions19
wordCount1265
uniqueNames3
maxNameDensity1.34
worstName"Davies"
maxWindowNameDensity2.5
worstWindowName"Davies"
discoveredNames
Tube1
London1
Davies17
persons
0"Davies"
places
0"London"
globalScore0.828
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences86
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1533
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences155
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs58
mean26.43
std23.46
cv0.888
sampleLengths
087
115
260
315
417
582
64
744
844
96
1016
118
128
1333
1441
1562
1612
1776
1810
1911
202
2159
2211
2327
244
2514
2633
2719
287
2917
305
315
3271
336
3466
3512
3631
376
3847
3910
4063
4152
4215
4334
445
4559
4611
4723
484
4954
91.45% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences127
matches
0"been dropped"
1"was frozen"
2"was tarnished"
3"was stretched"
4"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs233
matches
0"wasn’t pointing"
1"wasn’t pointing"
2"was racing"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount8
semicolonCount0
flaggedSentences8
totalSentences155
ratio0.052
matches
0"The victim’s clothes were expensive—tailored suit, polished shoes, a watch that probably cost more than my car."
1"Etched into the metal were symbols I didn’t recognise—sigils, maybe, or some kind of script."
2"The object was half-buried in the dirt, but I recognised it immediately—a bone token, carved with the same symbols as the compass."
3"We both turned as a figure emerged from the darkness—a uniformed officer, his face pale."
4"The smell hit me first—rot and something else, something sweet and cloying, like decaying flowers."
5"The needle of the compass locked into place, pointing directly at one of the sigils—a circle with a line through it, like a no-entry sign."
6"It pooled at the base of the sigil, growing larger, darker, until it took shape—a figure, tall and thin, its edges blurred as if it weren’t entirely there."
7"My mind was racing, piecing together the fragments—the compass, the symbols, the bodies."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount567
adjectiveStacks0
stackExamples(empty)
adverbCount20
adverbRatio0.03527336860670194
lyAdverbCount7
lyAdverbRatio0.012345679012345678
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences155
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences155
mean9.89
std6.67
cv0.674
sampleLengths
020
120
218
320
49
513
62
79
830
918
103
1115
123
1314
1422
1517
1612
1711
1820
194
2019
219
225
235
246
2511
2615
2715
283
296
302
3114
322
336
344
354
365
3728
388
3933
4010
4118
4222
4312
447
455
463
4716
489
4911
41.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.25806451612903225
totalSentences155
uniqueOpeners40
86.21% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences116
matches
0"Instead, I walked to the"
1"Instead, I climbed back onto"
2"Instead, I walked toward the"
ratio0.026
64.83% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences116
matches
0"I crouched beside the body,"
1"His face was frozen in"
2"I ignored him, my gaze"
3"My skin prickled."
4"I asked, though I already"
5"I reached into my pocket"
6"His fingers were clean, no"
7"I leaned in closer, my"
8"It was tarnished, the verdigris"
9"It wasn’t pointing at anything."
10"It spun lazily, as if"
11"I picked it up, turning"
12"My pulse quickened."
13"I shot him a look."
14"I set the compass down"
15"I gestured to the station,"
16"I didn’t answer."
17"I hopped down, my boots"
18"I picked it up, turning"
19"It was warm, almost alive."
ratio0.388
20.34% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount102
totalSentences116
matches
0"The air smelled of damp"
1"I crouched beside the body,"
2"The victim lay sprawled on"
3"His face was frozen in"
4"The kind of look that"
5"Davies stood a few feet"
6"I ignored him, my gaze"
7"The abandoned station was one"
8"The tracks below were dark,"
9"My skin prickled."
10"I asked, though I already"
11"Davies exhaled sharply."
12"I reached into my pocket"
13"The victim’s clothes were expensive—tailored"
14"His fingers were clean, no"
15"I leaned in closer, my"
16"The skin around his lips"
17"Davies stepped aside, revealing a"
18"It was tarnished, the verdigris"
19"The needle wasn’t pointing north."
ratio0.879
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences116
matches(empty)
ratio0
89.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount4
matches
0"The air smelled of damp stone and something older, something that clung to the back of my throat like copper."
1"The abandoned station was one of those forgotten places beneath London, its walls covered in peeling posters and graffiti that glowed faintly under the flickeri…"
2"The casing was cold, too cold for something that had been lying on a corpse."
3"These were deeper, older, the edges of the cuts blackened as if burned."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount4
matches
0"Davies said, deadpan"
1"he called, his voice shaking"
2"Davies said, his voice strained"
3"I said, my voice steady despite the adrenaline coursing through me"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount0
fancyTags(empty)
dialogueSentences38
tagDensity0.184
leniency0.368
rawRatio0
effectiveRatio0
79.6568%