Run: 2026-02-20-01KHY7NBKM6RK6QAKKN3K4SSR2

Run Details

Model:
Grok 4
Duration:
1m 24s
Cost:
$0.040455
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 shoved through the rusted access grate, her boots splashing into ankle-deep water that reeked of stagnant oil and forgotten magic. The air hummed with that unnatural vibration she had come to recognise from her last botched case, the one that claimed Morris. She gripped her torch tighter, sweeping its beam across the arched ceiling of the abandoned Tube station. Shadows danced like conspirators, and up ahead, uniformed officers milled about with clipboards and evidence bags, their faces pale under the emergency floodlights. One of them nodded to her, but Quinn ignored him. She had spotted the body already, slumped against a vendor's stall draped in tattered velvet. "Detective Quinn," a familiar voice called out. Eva Kowalski pushed through the cordon tape, her curly red hair escaping its hasty bun, round glasses perched on her freckled nose. She clutched a worn leather satchel bulging with books, tucking a stray lock behind her left ear—a nervous tic Quinn had noted during their previous encounters. "They called me in as consultant. Restricted archives access, you know. This place... it's not on any official maps." Quinn's sharp jaw tightened. Eva, the occult researcher from the British Museum, always turned up at these scenes like a bad penny. Childhood friend to that suspiciously well-connected Aurora woman, part of the clique Quinn had been watching. But Eva's expertise on ancient history had proven useful before, even if it grated. "Spare me the preamble, Evie. What are we looking at?" Eva adjusted her glasses, glancing at the body—a middle-aged man in a threadbare coat, his skin mottled with unnatural veins that glowed faintly blue. "Victim's a Shade artisan, from the looks of it. Crafts enchanted items. See the tattoos on his wrists? Protective sigils, but they've been inverted. Turned against him." Quinn knelt beside the corpse, her worn leather watch catching the light as she examined the man's hands. No defensive wounds, but his fingers clutched a small brass object, its face etched with sigils and a patina of verdigris. A compass. She pried it free, careful not to touch the needle, which quivered erratically. "Cause of death?" "Exsanguination, but not from any visible wound." Eva pointed to the floor, where a pool of blood had congealed into impossible patterns, like runes drawn by an invisible hand. "Blood drained internally, organs liquefied. Classic sign of a rift backlash. This is The Veil Market, after all. It moves every full moon, but someone anchored it here tonight." Quinn stood, pocketing the compass for now. She paced the stall, her military bearing evident in each precise step. The market's remnants surrounded them: overturned crates of glowing herbs, shattered vials of what smelled like banned alchemical substances, and whispers of information traded in the shadows. An unusual location for a crime scene, hidden beneath Camden's bustling streets, accessible only with a bone token. Quinn had "borrowed" one from evidence lockup after tailing a suspect last month. Something about this setup screamed wrongness. The evidence didn't add up—no signs of struggle, no witnesses, yet the body positioned like a warning. One of the officers approached, a young constable with a notebook. "Ma'am, we swept the area. No prints, no CCTV down here. Looks like a deal gone bad. Market's full of dodgy types." "Dismissed," Quinn snapped. She turned back to Eva. "You said rift backlash. Explain." Eva opened her satchel, pulling out a battered tome bound in what looked like scaled leather. She flipped to a marked page, her green eyes scanning the text. "Supernatural rifts are doorways between realms. Unstable ones can suck the life out of you if you're not careful. But look here." She gestured to the blood runes. "These aren't random. They're a summoning circle, inverted like the tattoos. Someone weaponised the rift, turned it on him deliberately." Quinn's brown eyes narrowed. Eva's interpretation leaned too heavily on the occult mumbo-jumbo, the kind that had gotten Morris killed three years ago. Unexplained circumstances, the report said. Supernatural origins she didn't yet understand—but she would. "Or it's staged to look that way. A mundane murder dressed up in fairy tales to throw us off." Eva tucked her hair again, a flicker of frustration crossing her freckled face. "Harlow, you've seen enough of these to know it's not mundane. Remember the case in Soho? The shadows that moved on their own? This market sells information, enchanted goods. He was probably trading secrets, and someone didn't want them out." Quinn circled the body again, her torch beam catching on a nearby stall's remnants. Shards of glass crunched underfoot, releasing a faint, acrid scent—like burnt ozone mixed with herbs. She picked up a fragment of vial, noting the residue: a viscous purple liquid that shimmered unnaturally. "If it's a rift, where's the portal? No scorch marks, no residual energy. Just a dead artisan and some fancy blood art." "That's what bothers me," Eva admitted, her voice dropping. She glanced around, as if the shadows listened. "The Veil Market requires a bone token to enter. How did the killer get in without one? And why leave the body here, where it would draw attention?" Quinn felt the compass in her pocket twitch. She pulled it out, watching the needle spin wildly before settling northward—towards a sealed-off tunnel entrance. Odd. Compasses didn't work this deep underground, not normal ones. This one pointed with purpose. "Your book mention anything about a 'Veil Compass'?" Eva's eyes widened behind her glasses. "Yes! Attuned to supernatural energy, points to the nearest rift or portal. Crafted by Shade artisans, like our victim here. If it's reacting..." Quinn strode towards the tunnel, ignoring the officers' puzzled looks. Eva hurried after her, satchel slapping against her hip. The transition from the main platform to the narrower passage brought a shift in atmosphere—the air grew thicker, laced with a metallic tang that stung Quinn's nostrils. Graffiti covered the walls, but not the usual tags; these were sigils, glowing faintly as if freshly etched. "Slow down," Eva said. "If there's an active rift, we need wards." Quinn didn't break stride. "Your wards didn't save Morris." Eva faltered, then caught up. "That was different. You still blame yourself, don't you? The unexplained circumstances—" "Save the psychoanalysis." Quinn's voice cut sharp. The compass needle steadied, pointing straight ahead. She reached the tunnel's end, a bricked-up wall that looked solid but felt wrong. Too new, the mortar still damp. She pressed her palm against it, and a low hum vibrated through her bones. Eva peered over her shoulder. "See? Not mundane. This wall's a glamour. The killer must have sealed the rift behind them." Quinn traced the bricks, her fingers finding a hairline crack that pulsed with energy. Evidence not adding up: a murder in a market that shouldn't exist, a body drained without wounds, and now a hidden portal. Eva saw supernatural foul play, but Quinn's instincts screamed human involvement. Someone in her clique, perhaps, covering tracks. She had tailed Aurora and her friends to similar spots before. "Stand back." Quinn drew her service weapon, though she knew bullets meant nothing against this. She wedged her fingers into the crack and pulled. The wall shimmered, then parted like mist, revealing a chamber beyond. Stale air rushed out, carrying the scent of decay and something sweeter, like incense. Inside, the space opened into a makeshift altar room, lit by floating orbs of ethereal light. At the centre, a rift swirled—a tear in reality, purple and black tendrils writhing like living smoke. Scattered around it: more bone tokens, a scattering of documents, and a figure hunched over what looked like a ritual circle. The figure turned, hood falling back to reveal a face Quinn recognised from her files—one of Aurora's associates, a low-level informant. His hands dripped with the same blue-veined glow as the victim's. "Detective," he rasped, lips curling into a smile that didn't reach his eyes. "You found the back door." Eva gasped, tucking her hair frantically. "That's not possible. The rift should've closed—" Quinn raised her weapon. "Hands up. You're under arrest for—" The man laughed, a sound that echoed unnaturally. He thrust his palm forward, and the rift surged, tendrils lashing out like whips. One struck the ground near Quinn's feet, splintering tile. Another grazed Eva's arm, drawing a hiss of pain. Quinn fired, but the bullet dissolved mid-air, absorbed by the energy. The compass in her pocket burned hot, needle spinning madly. "Welcome to the real market," the man said, stepping into the rift. "Tell Aurora we're even." The portal expanded, pulling at the air, dragging debris towards it. Quinn grabbed Eva's collar, yanking her back as the chamber began to collapse, bricks crumbling into the void. The tendrils reached for them now, hungry and alive.
created_at"2026-02-20T19:15:40.817Z" 2/20/2026, 7:15:40 PM
model"x-ai/grok-4-07-09" 4/7/2009, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency16823
moderation_latency(null)
generation_time83950
tokens_prompt4671
tokens_completion2329
native_tokens_prompt4757
native_tokens_completion2459
native_tokens_completion_images0
native_tokens_reasoning555
native_tokens_cached4756
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"
usage0.040455
router(null)
provider_responses
0
endpoint_id"d40bef9d-6936-4c57-9749-bf7399de4a77"
id"19b3ad0f-e422-94a4-8706-8018c842477b"
is_byokfalse
latency54
model_permaslug"x-ai/grok-4-07-09" 4/7/2009, 12:00:00 AM
provider_name"xAI"
status200
api_type"completions"
id"gen-1771614940-2gLZxnkfFcOmiddtm12Z"
upstream_id"19b3ad0f-e422-94a4-8706-8018c842477b"
total_cost0.040455
cache_discount0.010701
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences33
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
96.61% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1475
totalAiIsmAdverbs1
found
0
adverb"deliberately"
count1
highlights
0"deliberately"
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)
52.54% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1475
totalAiIsms14
found
0
word"velvet"
count1
1
word"familiar"
count1
2
word"etched"
count2
3
word"quivered"
count1
4
word"shattered"
count1
5
word"scanning"
count1
6
word"flicker"
count1
7
word"shimmered"
count2
8
word"vibrated"
count1
9
word"traced"
count1
10
word"pulsed"
count1
11
word"echoed"
count1
highlights
0"velvet"
1"familiar"
2"etched"
3"quivered"
4"shattered"
5"scanning"
6"flicker"
7"shimmered"
8"vibrated"
9"traced"
10"pulsed"
11"echoed"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count2
highlights
0"eyes narrowed"
1"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences88
matches
0"a flicker of frustration"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences88
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences110
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1458
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
37.54% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions57
wordCount1067
uniqueNames11
maxNameDensity2.25
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn24
Morris2
Tube1
Eva19
Kowalski1
British1
Museum1
Aurora3
Camden1
One3
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Eva"
4"Kowalski"
5"Museum"
6"Aurora"
7"Camden"
8"One"
places
0"British"
globalScore0.375
windowScore0.5
45.83% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount3
matches
0"smelled like banned alchemical substances"
1"looked like scaled leather"
2"looked like a ritual circle"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1458
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences110
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean42.88
std22.42
cv0.523
sampleLengths
045
165
274
362
451
557
658
7100
833
913
1076
1155
1253
1368
1445
1547
1629
1764
1812
199
2017
2148
2221
2365
2449
2554
2632
2718
2813
2910
3040
3121
3216
3338
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences88
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs194
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount9
semicolonCount1
flaggedSentences10
totalSentences110
ratio0.091
matches
0"She clutched a worn leather satchel bulging with books, tucking a stray lock behind her left ear—a nervous tic Quinn had noted during their previous encounters."
1"Eva adjusted her glasses, glancing at the body—a middle-aged man in a threadbare coat, his skin mottled with unnatural veins that glowed faintly blue."
2"The evidence didn't add up—no signs of struggle, no witnesses, yet the body positioned like a warning."
3"Supernatural origins she didn't yet understand—but she would."
4"Shards of glass crunched underfoot, releasing a faint, acrid scent—like burnt ozone mixed with herbs."
5"She pulled it out, watching the needle spin wildly before settling northward—towards a sealed-off tunnel entrance."
6"The transition from the main platform to the narrower passage brought a shift in atmosphere—the air grew thicker, laced with a metallic tang that stung Quinn's nostrils."
7"Graffiti covered the walls, but not the usual tags; these were sigils, glowing faintly as if freshly etched."
8"At the centre, a rift swirled—a tear in reality, purple and black tendrils writhing like living smoke."
9"The figure turned, hood falling back to reveal a face Quinn recognised from her files—one of Aurora's associates, a low-level informant."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount687
adjectiveStacks0
stackExamples(empty)
adverbCount21
adverbRatio0.03056768558951965
lyAdverbCount8
lyAdverbRatio0.011644832605531296
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences110
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences110
mean13.25
std7.46
cv0.563
sampleLengths
023
122
217
323
410
515
67
722
826
919
104
1118
1216
1314
1410
1524
1627
1718
1821
192
2013
213
2229
2329
247
2512
2627
2718
2813
296
3017
3111
3222
333
345
355
3616
3712
3828
3920
404
4119
425
438
4419
4513
4640
4714
4815
4917
80.30% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats0
diversityRatio0.4818181818181818
totalSentences110
uniqueOpeners53
39.68% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences84
matches
0"Too new, the mortar still"
ratio0.012
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount18
totalSentences84
matches
0"She gripped her torch tighter,"
1"She had spotted the body"
2"She clutched a worn leather"
3"She pried it free, careful"
4"She paced the stall, her"
5"She turned back to Eva."
6"She flipped to a marked"
7"She gestured to the blood"
8"She picked up a fragment"
9"She glanced around, as if"
10"She pulled it out, watching"
11"She reached the tunnel's end,"
12"She pressed her palm against"
13"She had tailed Aurora and"
14"She wedged her fingers into"
15"His hands dripped with the"
16"he rasped, lips curling into"
17"He thrust his palm forward,"
ratio0.214
31.43% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount72
totalSentences84
matches
0"Detective Harlow Quinn shoved through"
1"The air hummed with that"
2"She gripped her torch tighter,"
3"Shadows danced like conspirators, and"
4"She had spotted the body"
5"a familiar voice called out"
6"Eva Kowalski pushed through the"
7"She clutched a worn leather"
8"Quinn's sharp jaw tightened."
9"Eva, the occult researcher from"
10"Childhood friend to that suspiciously"
11"Eva adjusted her glasses, glancing"
12"Quinn knelt beside the corpse,"
13"She pried it free, careful"
14"Eva pointed to the floor,"
15"Quinn stood, pocketing the compass"
16"She paced the stall, her"
17"The market's remnants surrounded them:"
18"An unusual location for a"
19"Quinn had one from evidence"
ratio0.857
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences84
matches(empty)
ratio0
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount6
matches
0"Detective Harlow Quinn shoved through the rusted access grate, her boots splashing into ankle-deep water that reeked of stagnant oil and forgotten magic."
1"Eva adjusted her glasses, glancing at the body—a middle-aged man in a threadbare coat, his skin mottled with unnatural veins that glowed faintly blue."
2"She picked up a fragment of vial, noting the residue: a viscous purple liquid that shimmered unnaturally."
3"The transition from the main platform to the narrower passage brought a shift in atmosphere—the air grew thicker, laced with a metallic tang that stung Quinn's …"
4"She reached the tunnel's end, a bricked-up wall that looked solid but felt wrong."
5"Quinn grabbed Eva's collar, yanking her back as the chamber began to collapse, bricks crumbling into the void."
79.55% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount1
matches
0"Eva admitted, her voice dropping"
89.39% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"Quinn snapped (snap)"
1"Eva admitted (admit)"
dialogueSentences33
tagDensity0.121
leniency0.242
rawRatio0.5
effectiveRatio0.121
79.1038%