Run: 2026-02-20-01KHY91YVR9JNJ68NEZ3EG1C1C

Run Details

Duration:
23.2s
Cost:
$0.000322
Provider:
DeepInfra

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The rain arrived not as a gentle drizzle, but a solid sheet, plastering itself to the slick cobblestones of Soho. Each drop felt weighted, a tiny, insistent hammer blow against the pavement. Detective Harlow Quinn adjusted the worn leather watch on her left wrist, the subtle tick a counterpoint to the insistent drumming of the downpour. Twelve minutes. Twelve minutes since she’d last seen him – Silas Blackwood, a collector of the… unusual, and a man who’d been weaving a tangled web of lies for the past three weeks. He’d been boasting, loudly and carelessly, at The Raven’s Nest about a new acquisition, something he referred to only as “The Veiled Echo.” Quinn had intended to simply record his boasts for a warrant, a polite, bureaucratic conversation. Instead, he'd bolted. The rain intensified, turning the neon signs of the bars into distorted smears of colour. Quinn pushed off the brick wall of a closed bookstore, the damp seeping through her jacket. Blackwood was heading east, down Berwick Street, his movements quick, almost frantic. Not the calculated efficiency of someone who knew exactly where they were going, but the desperate scramble of a cornered animal. She followed, her boots splashing through puddles that reflected the city’s sickly glow. The air smelled of wet asphalt, exhaust fumes, and something else… something faintly metallic, like old blood. The kind of smell that lingered, that scratched at the back of your throat. A memory flashed – DS Morris, his face pale beneath the forensic lights, describing a similar scent clinging to the victim of *that* case, three years ago. A case she’d been ordered to bury, to forget. She crested the street and saw him disappearing into a narrow alleyway between a kebab shop and a pawn shop – a jarring juxtaposition of late-night cravings and illicit goods. Quinn pushed through the alley, the stench of garlic and something vaguely rotten clinging to the air. The alley opened abruptly into a darker, narrower street, slick with rainwater and shadowed by towering buildings. The rain here was heavier, driven by a wind that smelled of the Thames. Blackwood was gone. She checked his discarded leather gloves, a dark burgundy, lying abandoned on the wet pavement. No trace of a weapon, no hurried note. Just the gloves, a single, deliberate abandonment. “Damn it,” she muttered, adjusting the strap of her holster. Her military precision, honed over eighteen years on the force, demanded a systematic approach. A single abandoned glove wasn’t enough to justify a blind chase. Unless… Silas Blackwood wasn’t just running; he was deliberately misleading her. She activated her comms. “Miller, I need you to run facial recognition on Blackwood’s prints from the gloves. Priority one. And pull up everything we have on the Veiled Echo. I want to know who he was dealing with, and what he thought he was getting himself into.” The response crackled in her ear: “On it, Detective.” Quinn scanned the street again, her eyes moving with practiced efficiency, cataloguing every shadow, every reflection. A flicker of movement at the end of the alley. She moved quickly, her boots slipping slightly on the wet pavement. A figure emerged from a doorway – Tomás Herrera, a former paramedic who'd built a discreet, illicit medical practice, catering to the city’s less-than-legal clientele. He was kneeling beside Blackwood, examining a gash on his forearm, the scarlet stain blooming beneath the dim light. The scar, a jagged white line that spoke of a violent encounter, was new. Very new. “Mr. Blackwood," Herrera said, his voice low and carefully neutral, "you’re bleeding considerably. And this wound… it’s remarkably clean. Almost surgical.” He didn’t look up. “Didn’t expect this to escalate so quickly.” “Just a bit of clumsy business,” Blackwood grunted, clutching his arm. His face was pale, his breathing ragged. "Let's just... let's just get out of here." Quinn stepped into the alley, her Glock drawn, the steel reflecting the flashing neon from the street above. “Don’t move.” Her voice was clipped, devoid of emotion. The rain seemed to amplify the sound, turning it into a harsh, echoing drone. Blackwood tried to rise, but Herrera grabbed his arm, holding him down with surprising strength. “Let her handle it, Silas. You’re not winning this.” “You took something from me,” Blackwood spat, his eyes darting around the alley, searching for an escape route. “Something valuable.” “Everything has a price,” Herrera replied, his gaze unwavering. “You chose to pay it.” Quinn didn't wait for more conversation. She moved swiftly, tackling Herrera to the ground. The medic, despite his training, was surprisingly resistant. A brief, brutal struggle ensued, punctuated by grunts and the scraping of leather against concrete. Within seconds, she had him pinned, the medical medallion around his neck glinting under the rain. “Secure him,” she commanded, her voice tight with controlled fury. “And check him for anything… untoward.” As one of her officers, Miller, began to examine Herrera, Quinn turned her attention back to Blackwood. He was attempting to scramble towards a side door, a narrow opening concealed behind a stack of overflowing bins. She stepped in front of him, blocking his path. “It ends here, Blackwood.” “You don’t understand,” he pleaded, his voice rising in desperation. “It’s not about the Echo. It’s about… protection.” “Protection from what?” He hesitated, glanced nervously at Herrera, then back at Quinn. "From *them*." Suddenly, the ground beneath them began to tremble. A low, guttural hum resonated through the alley, rising in intensity. Rain intensified drastically, turning from a downpour to a deluge. A section of the brick wall behind them shuddered, and a rectangular panel slid open, revealing a dark, narrow passage. The air pouring out was cold, heavy with the scent of damp earth and something else… something ancient and unsettling. The entrance to The Veil Market. “Get down!” Quinn yelled, shoving Blackwood towards the ground. The panel slammed shut with a resounding thud, plunging the alley into near darkness, illuminated only by flashes of lightning. Miller shouted, “Detective, there’s… something moving down there!” From the depths of the passage, a low, rhythmic chanting began, accompanied by the clatter of unseen objects. A shimmering, almost visible ripple distorted the air around the opening. It wasn’t just the rain. It was something else. Something far more sinister. Blackwood’s eyes widened with a terror Quinn hadn’t seen before. “They found me,” he whispered, his voice barely audible above the chanting. “They *always* find me.” Before Quinn could react, a figure emerged from the passage - a tall, gaunt man in a long, dark coat, his face obscured by a wide-brimmed hat. He carried a bone token, a polished shard of bleached ivory, and he regarded Quinn with an unsettlingly calm gaze. “Detective Quinn,” the man’s voice was a low rasp, like dry leaves skittering across pavement. “We’ve been expecting you.” He extended a hand, offering Quinn the bone token. “Welcome to the market.” The chanting intensified, rising to a fever pitch. A wave of icy air washed over Quinn, and she felt a prickling sensation on her skin, as if countless unseen eyes were bearing down on her. The rain intensified, blurring the edges of reality. Miller shouted again, “Detective! I’m picking up a massive energy spike! It’s… it’s centered right on that doorway!” Quinn instinctively raised her Glock, her finger tightening on the trigger. Whatever was happening down there, it wasn’t natural. It wasn’t human. "Miller," she said, her voice tight with suppressed urgency. "Secure the perimeter. I need every officer available, and I want them ready for anything. And –" she paused, her gaze fixed on the entrance to the Veil Market. “Tell forensics to dust for prints. Old prints. And whatever you do, don’t touch anything."
created_at"2026-02-20T19:40:02.324Z" 2/20/2026, 7:40:02 PM
model"google/gemma-3-4b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency345
moderation_latency(null)
generation_time22986
tokens_prompt4687
tokens_completion2117
native_tokens_prompt4515
native_tokens_completion1765
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"
usage0.0003218
router(null)
provider_responses
0
endpoint_id"d3de3bd4-81bc-48fb-924f-2a87b2a36e75"
id"chatcmpl-R3FcCGrMSspuwtX9Q5z9w8q4"
is_byokfalse
latency52
model_permaslug"google/gemma-3-4b-it"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771616402-T2w89JxoVddwwsfVV7Ag"
upstream_id"chatcmpl-R3FcCGrMSspuwtX9Q5z9w8q4"
total_cost0.0003218
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags16
adverbTagCount1
adverbTags
0"Miller shouted again [again]"
dialogueSentences32
tagDensity0.5
leniency1
rawRatio0.063
effectiveRatio0.063
68.92% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1287
totalAiIsmAdverbs8
found
0
adverb"deliberately"
count1
1
adverb"quickly"
count2
2
adverb"slightly"
count1
3
adverb"very"
count1
4
adverb"carefully"
count1
5
adverb"nervously"
count1
6
adverb"suddenly"
count1
highlights
0"deliberately"
1"quickly"
2"slightly"
3"very"
4"carefully"
5"nervously"
6"suddenly"
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)
33.95% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1287
totalAiIsms17
found
0
word"echo"
count3
1
word"calculated"
count1
2
word"pawn"
count1
3
word"systematic"
count1
4
word"scanned"
count1
5
word"flicker"
count1
6
word"encounter"
count1
7
word"echoing"
count1
8
word"unwavering"
count1
9
word"glinting"
count1
10
word"resonated"
count1
11
word"intensity"
count1
12
word"depths"
count1
13
word"rhythmic"
count1
14
word"sinister"
count1
highlights
0"echo"
1"calculated"
2"pawn"
3"systematic"
4"scanned"
5"flicker"
6"encounter"
7"echoing"
8"unwavering"
9"glinting"
10"resonated"
11"intensity"
12"depths"
13"rhythmic"
14"sinister"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences89
matches(empty)
46.55% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences89
filterMatches
0"watch"
hedgeMatches
0"tended to"
1"seemed to"
2"tried to"
3"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences104
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1288
ratio0.002
matches
0"that"
1"them"
2"always"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1062
uniqueNames17
maxNameDensity1.51
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Soho1
Harlow1
Quinn16
Silas2
Blackwood11
Raven1
Nest1
Berwick1
Street1
Morris1
Thames1
Tomás1
Herrera7
Glock2
Miller3
Veil1
Market1
persons
0"Harlow"
1"Quinn"
2"Silas"
3"Blackwood"
4"Morris"
5"Tomás"
6"Herrera"
7"Glock"
8"Miller"
places
0"Soho"
1"Raven"
2"Berwick"
3"Street"
4"Thames"
5"Veil"
globalScore0.747
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences74
glossingSentenceCount0
matches(empty)
44.72% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.553
wordCount1288
matches
0"not as a gentle drizzle, but a solid sheet, plastering itself to the slick cobblestones o"
1"Not the calculated efficiency of someone who knew exactly where they were going, but the desperate scramble of a cornered animal"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences104
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs30
mean42.93
std37.09
cv0.864
sampleLengths
0130
1144
2111
394
49
597
632
726
841
924
1020
1114
1253
1316
1445
154
1618
173
1812
1975
209
2128
2252
2316
2447
2532
2643
2718
2822
2953
93.44% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences89
matches
0"been ordered"
1"was gone"
2"was clipped"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs169
matches
0"was heading"
1"were going"
2"was kneeling"
3"was attempting"
4"were bearing"
5"was happening"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount1
flaggedSentences6
totalSentences104
ratio0.058
matches
0"Twelve minutes since she’d last seen him – Silas Blackwood, a collector of the…"
1"A memory flashed – DS Morris, his face pale beneath the forensic lights, describing a similar scent clinging to the victim of *that* case, three years ago."
2"She crested the street and saw him disappearing into a narrow alleyway between a kebab shop and a pawn shop – a jarring juxtaposition of late-night cravings and illicit goods."
3"Silas Blackwood wasn’t just running; he was deliberately misleading her."
4"A figure emerged from a doorway – Tomás Herrera, a former paramedic who'd built a discreet, illicit medical practice, catering to the city’s less-than-legal clientele."
5"Before Quinn could react, a figure emerged from the passage - a tall, gaunt man in a long, dark coat, his face obscured by a wide-brimmed hat."
93.60% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1074
adjectiveStacks1
stackExamples
0"discreet, illicit medical practice,"
adverbCount36
adverbRatio0.0335195530726257
lyAdverbCount22
lyAdverbRatio0.020484171322160148
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences104
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences104
mean12.38
std7.7
cv0.621
sampleLengths
020
112
224
32
414
517
638
73
815
916
1012
1121
1213
1311
146
1514
1627
179
1830
1917
2017
2114
223
2315
248
257
2610
2714
2811
291
3010
314
3244
339
3416
3510
3611
3725
3819
3914
402
4125
427
4311
447
458
4618
479
4814
4915
65.71% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.4230769230769231
totalSentences104
uniqueOpeners44
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences85
matches
0"Instead, he'd bolted."
1"Just the gloves, a single,"
2"Suddenly, the ground beneath them"
ratio0.035
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences85
matches
0"He’d been boasting, loudly and"
1"She followed, her boots splashing"
2"She crested the street and"
3"She checked his discarded leather"
4"she muttered, adjusting the strap"
5"Her military precision, honed over"
6"She activated her comms."
7"She moved quickly, her boots"
8"He was kneeling beside Blackwood,"
9"His face was pale, his"
10"Her voice was clipped, devoid"
11"She moved swiftly, tackling Herrera"
12"she commanded, her voice tight"
13"He was attempting to scramble"
14"She stepped in front of"
15"he pleaded, his voice rising"
16"He hesitated, glanced nervously at"
17"It wasn’t just the rain."
18"It was something else."
19"he whispered, his voice barely"
ratio0.282
30.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences85
matches
0"The rain arrived not as"
1"Each drop felt weighted, a"
2"Detective Harlow Quinn adjusted the"
3"He’d been boasting, loudly and"
4"The rain intensified, turning the"
5"Quinn pushed off the brick"
6"Blackwood was heading east, down"
7"She followed, her boots splashing"
8"The air smelled of wet"
9"something faintly metallic, like old"
10"The kind of smell that"
11"A memory flashed – DS"
12"A case she’d been ordered"
13"She crested the street and"
14"Quinn pushed through the alley,"
15"The alley opened abruptly into"
16"The rain here was heavier,"
17"Blackwood was gone."
18"She checked his discarded leather"
19"she muttered, adjusting the strap"
ratio0.859
58.82% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences85
matches
0"Before Quinn could react, a"
ratio0.012
51.67% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences47
technicalSentenceCount6
matches
0"Not the calculated efficiency of someone who knew exactly where they were going, but the desperate scramble of a cornered animal."
1"She followed, her boots splashing through puddles that reflected the city’s sickly glow."
2"The kind of smell that lingered, that scratched at the back of your throat."
3"Quinn scanned the street again, her eyes moving with practiced efficiency, cataloguing every shadow, every reflection."
4"The scar, a jagged white line that spoke of a violent encounter, was new."
5"A wave of icy air washed over Quinn, and she felt a prickling sensation on her skin, as if countless unseen eyes were bearing down on her."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount6
matches
0"Herrera said, his voice low and carefully neutral,"
1"Herrera replied, his gaze unwavering"
2"she commanded, her voice tight with controlled fury"
3"he pleaded, his voice rising in desperation"
4"he whispered, his voice barely audible above the chanting"
5"she said, her voice tight with suppressed urgency"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount9
fancyTags
0"He’d (would)"
1"she muttered (mutter)"
2"Blackwood grunted (grunt)"
3"Blackwood spat (spit)"
4"he pleaded (plead)"
5"Quinn yelled (yell)"
6"Miller shouted (shout)"
7"he whispered (whisper)"
8"Miller shouted again (shout)"
dialogueSentences32
tagDensity0.375
leniency0.75
rawRatio0.75
effectiveRatio0.563
71.1544%