Run: 2026-02-20-01KHY7HNFT4N3B1ACZBA4TR2HM

Run Details

Model:
Grok 4
Duration:
1m 26s
Cost:
$0.044678
Provider:
xAI

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
Detective Harlow Quinn slammed her fist against the rusted gate, the echo bouncing down the abandoned Tube tunnel like a warning shot. No response. She checked her worn leather watch—three minutes past the anonymous tip's deadline—and kicked the barrier. Metal groaned, swinging inward on hidden hinges. She stepped through, torch beam cutting through the gloom. Stalls lined the walls, their canvas awnings sagging under dust and forgotten charms. A vendor's cart lay overturned, spilling vials of iridescent liquid that hissed against the cracked tiles. Blood pooled nearby, dark and sticky, mingling with shards of what looked like bone tokens. Quinn crouched, gloved fingers hovering over the mess. No body. Just this carnage in a place that shouldn't exist. "Detective Quinn?" A voice echoed from the shadows ahead, tentative but familiar. Eva Kowalski emerged, her curly red hair tucked behind her left ear, round glasses fogged from the chill. She clutched a worn leather satchel, books peeking from its flap. "You shouldn't be here. This market... it's not for outsiders." Quinn straightened, her sharp jaw tightening. Military precision kept her stance steady, but suspicion coiled in her gut. Eva, the researcher from the British Museum, had crossed her path before—always hovering around cases with odd edges, like the one that claimed her partner Morris three years back. "And you are? Last I checked, ancient history degrees don't grant crime scene access." Eva adjusted her satchel, freckles standing out against her pale skin. "I consult sometimes. For the unusual ones. The tip came through restricted channels—mentioned a rift disturbance. I got here first." Quinn swept her torch across the scene. The air hummed with an unnatural charge, like static before a storm. She spotted a small brass compass on the ground, its face etched with sigils, needle spinning wildly. She picked it up, careful not to touch the verdigris patina. "Rift disturbance? Cut the occult nonsense, Kowalski. This looks like a robbery gone wrong. Smashed stalls, spilled goods—probably dealers fighting over turf." Eva shook her head, green eyes narrowing behind her glasses. "Look closer. Those vials aren't drugs. Alchemical essences, banned ones. And that blood? Not human. See the way it shimmers?" She pointed, her voice steady, laced with the clipped precision of her Oxford education. "The Veil Market deals in shadows, Detective. Enchanted items, information from other realms. Someone tore open a portal here, and whatever came through didn't play nice." Quinn pocketed the compass for evidence, though it felt heavier in her coat, almost alive. She paced the perimeter, boots crunching over debris. The abandoned Tube station beneath Camden stretched into darkness, faded posters from the '70s peeling like old skin. A faint scent of ozone lingered, not the usual damp rot of forgotten tunnels. Morris had died in a place like this—unexplained, his body twisted in ways no autopsy could explain. Supernatural origins, the whispers said. She pushed the memory down. "Portal?" Quinn's tone sharpened, brown eyes locking on Eva. "You expect me to believe that? Evidence says otherwise. Footprints—multiple sets, all leading to that overturned cart. Scuffle marks, but no drag trails. Victim fought back, maybe escaped. And this?" She nodded at a scattered pile of bone tokens, each carved with intricate runes. "Currency for your black market fairy tale? Looks like counterfeit poker chips to me." Eva knelt beside the blood pool, tucking her hair again—a nervous tic Quinn had noted in prior encounters. "Bone tokens grant entry. They dissolve if you try to fake them. These are real, but shattered. Whatever happened here overloaded the market's wards. The schedule shifts every full moon—this location's fresh, barely settled. Someone knew that. Planned it." Quinn circled back to the cart, her mind mapping discrepancies. The blood did shimmer, faint blue veins pulsing beneath the surface. Not coagulating like human blood should. She prodded a vial with her boot; it rolled, releasing a puff of smoke that formed fleeting shapes—faces? No, illusion from fatigue. Eighteen years on the force, decorated service, and now this researcher peddled ghost stories. "Alright, play along," Quinn said, crossing her arms. "If it's your supernatural rift, where's the body? No corpse, no crime—yet. But the tip mentioned a murder. Anonymous caller, voice distorted, said 'the market's bleeding.' Sounds like a rival tipping off a hit." Eva stood, brushing dust from her knees. "The body might not be here. Rifts don't just spill blood—they consume. Pull things through. That compass you picked up? Veil Compass. Points to the nearest supernatural tear. If it's spinning, the portal's unstable. Active." Quinn pulled out the compass again. The needle whirled, then jerked toward a shadowed alcove. She followed its pull, Eva trailing. The alcove hid a makeshift stall, curtains torn, shelves emptied. A ledger lay open, pages ripped, but one entry caught her eye: "Shade artisan delivery—compass attuned. Buyer: A. Blackwood." Initials only. Sloppy. "Something came through," Eva murmured, her voice dropping to a whisper, cultural lilt from her Polish roots slipping in—words like "came" carrying a faint roll. "Not a robbery. An incursion. Shades from the other side—they craft items like that compass, but they don't cross willingly. Unless summoned." Quinn flipped through the ledger, pages whispering secrets. Dates matched lunar cycles, locations shifting: beneath Soho last month, now Camden. Patterns. Her partner Morris had chased a similar lead—whispers of underground markets, then vanished in a tunnel collapse that wasn't natural. Autopsy showed internal ruptures, like something had pulled him apart from inside. She froze. A faint scratching echoed from the alcove's rear wall, like nails on tile. The compass needle steadied, pointing straight at it. Quinn pressed her ear to the cold stone—whispers? No, breathing. Laboured. "Stand back," Quinn ordered, drawing her sidearm. Eva complied, satchel clutched tight. Quinn shoved at a loose panel. It gave way, revealing a hidden nook. A figure huddled there, cloaked in shadows, chest heaving. Male, mid-thirties, clothes torn, skin marked with glowing sigils that pulsed like the blood outside. He looked up, eyes wild, not quite human—irises slitted, like a cat's. "Help," he rasped, voice echoing unnaturally. "It took... the others. Through the veil." Quinn lowered her weapon a fraction. Not a victim—survivor? But the sigils on his skin matched the compass etchings. Shade artisan, Eva had said. Crafted by one? Or one himself? Eva gasped, stepping forward. "He's crossing over. Unstable. The rift's in him." The man convulsed, sigils flaring brighter. Cracks appeared in the air around him, like glass shattering in slow motion. Reality bent, pulling at Quinn's coat, the compass burning hot in her pocket. "Get out!" the man screamed, his form flickering. "It's coming back!" Quinn grabbed Eva's arm, yanking her away as the alcove erupted in shadow. Tendrils lashed out, cold and grasping, wrapping around the man's legs. He clawed at the ground, nails scraping bloody trails. The rift widened, a maw of darkness swallowing light. Quinn's torch beam vanished into it, illuminating glimpses of twisted shapes beyond—eyes, too many eyes. Eva shouted, "The compass—use it to seal—" But a tendril whipped forward, slamming into Quinn's chest, ice flooding her veins. Visions flashed: Morris, screaming in a similar void, pulled apart by unseen forces. She staggered, firing blindly into the dark. The shot echoed, but the shadows laughed, hungry and closing in.
created_at"2026-02-20T19:13:39.86Z" 2/20/2026, 7:13:39 PM
model"x-ai/grok-4-07-09" 4/7/2009, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency16397
moderation_latency(null)
generation_time85195
tokens_prompt4671
tokens_completion1997
native_tokens_prompt4757
native_tokens_completion2129
native_tokens_completion_images0
native_tokens_reasoning482
native_tokens_cached679
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"completed"
usage0.04467825
router(null)
provider_responses
0
endpoint_id"d40bef9d-6936-4c57-9749-bf7399de4a77"
id"5b58079b-0bc0-d51e-e069-d52eb28ef4d1"
is_byokfalse
latency499
model_permaslug"x-ai/grok-4-07-09" 4/7/2009, 12:00:00 AM
provider_name"xAI"
status200
api_type"completions"
id"gen-1771614819-r5jBqdIwHrdU2YSPFuH0"
upstream_id"5b58079b-0bc0-d51e-e069-d52eb28ef4d1"
total_cost0.04467825
cache_discount0.00152775
upstream_inference_cost0
provider_name"xAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags12
adverbTagCount0
adverbTags(empty)
dialogueSentences24
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1229
totalAiIsmAdverbs0
found(empty)
highlights(empty)
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Blackwood"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
30.84% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1229
totalAiIsms17
found
0
word"echo"
count1
1
word"gloom"
count1
2
word"echoed"
count3
3
word"familiar"
count1
4
word"chill"
count1
5
word"etched"
count1
6
word"almost alive"
count1
7
word"intricate"
count1
8
word"shattered"
count1
9
word"fleeting"
count1
10
word"whisper"
count1
11
word"lilt"
count1
12
word"pulsed"
count1
13
word"echoing"
count1
14
word"maw"
count1
highlights
0"echo"
1"gloom"
2"echoed"
3"familiar"
4"chill"
5"etched"
6"almost alive"
7"intricate"
8"shattered"
9"fleeting"
10"whisper"
11"lilt"
12"pulsed"
13"echoing"
14"maw"
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
narrationSentences89
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences89
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences102
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1207
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
40.93% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount871
uniqueNames13
maxNameDensity2.18
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn19
Tube2
Eva14
Kowalski1
British1
Museum1
Morris4
Oxford1
Camden2
Initials1
Polish1
Soho1
persons
0"Harlow"
1"Quinn"
2"Eva"
3"Kowalski"
4"Museum"
5"Morris"
6"Camden"
7"Polish"
places
0"British"
1"Oxford"
2"Soho"
globalScore0.409
windowScore0.5
77.54% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount2
matches
0"looked like bone tokens"
1"not quite human—irises slitted, like a cat's"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1207
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences102
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs29
mean41.62
std20.82
cv0.5
sampleLengths
046
172
251
361
431
569
670
782
867
957
1063
1142
1242
1353
1447
1553
1634
1712
1849
1913
2030
2112
2232
2311
2433
2524
267
2726
2818
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences89
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs177
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount12
semicolonCount1
flaggedSentences11
totalSentences102
ratio0.108
matches
0"She checked her worn leather watch—three minutes past the anonymous tip's deadline—and kicked the barrier."
1"Eva, the researcher from the British Museum, had crossed her path before—always hovering around cases with odd edges, like the one that claimed her partner Morris three years back."
2"Morris had died in a place like this—unexplained, his body twisted in ways no autopsy could explain."
3"Eva knelt beside the blood pool, tucking her hair again—a nervous tic Quinn had noted in prior encounters."
4"She prodded a vial with her boot; it rolled, releasing a puff of smoke that formed fleeting shapes—faces?"
5"\"Something came through,\" Eva murmured, her voice dropping to a whisper, cultural lilt from her Polish roots slipping in—words like \"came\" carrying a faint roll."
6"Her partner Morris had chased a similar lead—whispers of underground markets, then vanished in a tunnel collapse that wasn't natural."
7"Quinn pressed her ear to the cold stone—whispers?"
8"He looked up, eyes wild, not quite human—irises slitted, like a cat's."
9"Not a victim—survivor?"
10"Quinn's torch beam vanished into it, illuminating glimpses of twisted shapes beyond—eyes, too many eyes."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount835
adjectiveStacks0
stackExamples(empty)
adverbCount22
adverbRatio0.026347305389221556
lyAdverbCount6
lyAdverbRatio0.00718562874251497
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences102
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences102
mean11.83
std8.17
cv0.69
sampleLengths
022
12
215
37
49
513
616
715
88
92
109
1112
1218
1311
1410
156
1612
1729
1814
1911
2020
217
2212
2317
2411
2522
2610
2734
2826
2915
308
3118
3214
3317
345
355
369
3744
3814
3918
4039
4110
4211
436
4418
454
4614
478
4834
497
75.82% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats1
diversityRatio0.46078431372549017
totalSentences102
uniqueOpeners47
41.15% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences81
matches
0"Just this carnage in a"
ratio0.012
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount17
totalSentences81
matches
0"She checked her worn leather"
1"She stepped through, torch beam"
2"She clutched a worn leather"
3"She spotted a small brass"
4"She picked it up, careful"
5"She pointed, her voice steady,"
6"She paced the perimeter, boots"
7"She pushed the memory down."
8"She nodded at a scattered"
9"She prodded a vial with"
10"She followed its pull, Eva"
11"Her partner Morris had chased"
12"It gave way, revealing a"
13"He looked up, eyes wild,"
14"he rasped, voice echoing unnaturally"
15"He clawed at the ground,"
16"She staggered, firing blindly into"
ratio0.21
27.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount70
totalSentences81
matches
0"Detective Harlow Quinn slammed her"
1"She checked her worn leather"
2"Metal groaned, swinging inward on"
3"She stepped through, torch beam"
4"Stalls lined the walls, their"
5"A vendor's cart lay overturned,"
6"Blood pooled nearby, dark and"
7"Quinn crouched, gloved fingers hovering"
8"A voice echoed from the"
9"Eva Kowalski emerged, her curly"
10"She clutched a worn leather"
11"Quinn straightened, her sharp jaw"
12"Military precision kept her stance"
13"Eva, the researcher from the"
14"Eva adjusted her satchel, freckles"
15"Quinn swept her torch across"
16"The air hummed with an"
17"She spotted a small brass"
18"She picked it up, careful"
19"Eva shook her head, green"
ratio0.864
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences81
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount2
matches
0"A vendor's cart lay overturned, spilling vials of iridescent liquid that hissed against the cracked tiles."
1"She prodded a vial with her boot; it rolled, releasing a puff of smoke that formed fleeting shapes—faces?"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount3
matches
0"A voice echoed, tentative but familiar"
1"he rasped, voice echoing unnaturally"
2"the man screamed, his form flickering"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount4
fancyTags
0"Eva murmured (murmur)"
1"Quinn ordered (order)"
2"the man screamed (scream)"
3"Eva shouted (shout)"
dialogueSentences24
tagDensity0.208
leniency0.417
rawRatio0.8
effectiveRatio0.333
75.8058%