Run: 2026-02-20-01KHY98MKC8KMHQQT4JYG0H6PD

Run Details

Duration:
25.9s
Cost:
$0.001309
Provider:
Seed

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 alley reeked of stagnant water and rot. Harlow Quinn’s boots slid on a patch of oil, but she didn’t slow. The suspect—*anonymous*, forensics called him—had nicked a courier outside the Old Bailey an hour prior, left a trail of stolen ledgers with *clique* scrawled on the margins. Clique. The shadowy network of supernatural traffickers she’d been chasing since Morris’s body turned up in the Thames, eyes black as oil, throat torn like a sacker’s sack. Three years. She still woke up gasping, the memory of his quiet *“Quinn”* as the water closed over him. Rain sluiced down, turning the streetlights to blurs. The suspect darted left, between a stacked pile of crates and a graffiti-tagged wall. Quinn swerved, her shoulder slamming into a bin. Plastic crinkled. Shit. He was faster, lean, legs working like springs. *Paramedic*, she thought. The scar on his forearm—she’d seen it in the surveillance footage. A knife, maybe. Or something sharper. He hit the alley mouth, skidded. Quinn skidded too, skidding to a halt a foot from his retreating back. He turned. Eyes. Alert as a fox. Skin olive, hair curly dark, a saint Christopher medallion bobbing under his shirt. *Tomás Herrera*. The paramedic who treated the clique’s “accidents”—cuts that wouldn’t heal, burns that didn’t scar. The one who vanished from his flat six weeks ago after the first ledgers went missing. “Tommy,” she said. Her voice was hoarse, wet with rain. He smiled. A wolf’s smile. “Detective. Thought you’d given up. That floodgates case… you looked like you might drown yourself.” “Morris wouldn’t let me,” she said. The words came out harder than she meant. Herrera spun away. This time, he didn’t run toward the street. He ducked, pressing himself against a brick wall. The wall moved. Quinn froze. The tiles shifted, hissing, revealing a gap no wider than a coffin. A rusted iron grate, half-buried in weeds, slid open with a *screech*. He stepped through, then paused, glancing over his shoulder. “Hurry, Harlow. The market’s *hungry* tonight.” The grate clanged shut. Quinn sprinted. Rain stung her cheeks, blurring her vision. She slammed her shoulder into the grate. Nothing. She pulled at the bars—cold, solid. *Bone token*, she realized. His medallion. He’d used it, hidden in plain sight. The market wasn’t on any map she’d seen. The Veil Market. They said it moved every full moon, burying itself in a new tunnel. Tonight was the full moon. She glanced up. Camden High Street was quiet, a few drunks slouched outside pubs, a street sweeper humming along to a radio. No one noticed the grate. No one ever did. She ran to the nearest lamppost, ripped a chunk of cast-iron from its base, and smashed the grate’s hinges. The metal crumpled like tin. She dropped the pole, crawled through. The tunnel below was a world apart. Rain seeped through cracks in the concrete, but the air was thick, cloying—like overripe fruit and burnt sugar. torches flickered in wall niches, casting long shadows over cluttered stalls. A vendor with horns coiled like ram’s, selling vials of glowing liquid, didn’t look up. A man in a duster, face hidden by a hood, haggled over a cage of winged rats. A girl with scales along her jaw bartered for a bone pendant, her tail flicking behind her. Quinn drew her service pistol. The stallholders didn’t even flinch. Herrera was gone. But the trail was fresh—footprints in the mud, a smudge of something silver (mercury? magic?) on the stone. She followed, her boots squelching. The tunnel curved, growing narrower until it opened into a cavern. The Cauldron, the traders called it. A collapsed Tube platform, its ceiling caved in, letting in a sliver of sky. Torches mounted on the walls now burned with green flame. Stalls lined the edges, selling enchanted weapons, dried herbs that repelled ghosts, a vial of “eternal youth” that the vendor admitted “might make your skin fall off.” At the far end, Herrera stood beside a man in a tailored suit, his back to her. They were talking to a woman with a snake for a necklace. “…she’ll bring heat,” the suit was saying. “Quinn’s got a nose for leads. If she smells the market, she’ll dig.” Herrera laughed. “Let her dig. I’ll be gone by then. The moon’s high—“ “—the market moves at midnight,” the necklace woman said. Her voice was a whisper, like sandpaper. “You know the rules, Tomás. Once the moon crosses the meridian, even bone tokens won’t keep you in.” Quinn took a step forward. The ground trembled. Herrera spun. “You followed me.” The suit’s head snapped up. His eyes were milky, no whites, no pupils. He smiled,露出 sharp, pointed teeth. “Detective Quinn. What a *surprise*. I was hoping to avoid you. For a little while, at least.” The necklace woman hissed, her snake rearing. The horned vendor stood, his hands glowing gold. The winged rats took flight. Quinn backed up, pressing her back to a stall. The snake woman uncoiled, sliding toward her. The suit advanced, his hips swaying like a dancer’s. Herrera crossed his arms, watching. “Morris,” she said. Her voice was steady, even. “He told me about the market. Said you were… *connected*.” Herrera’s smile faded. “Morris was a good man. Too good. He asked too many questions. That’s why he’s at the bottom of the river.” The suit stopped in front of her, his breath smelling of sulfur. “You shouldn’t have come here, Harlow. We’re not like the others. We *help* the ones the world forgets. The ones the law would eat alive.” “Liar,” she said. “You killed him. And you killed the courier. And you’re going to sell those ledgers to the highest bidder.” Herrera pushed off the wall. “The ledgers? They’re maps. To the crossroads. To the gate.” The gate. Morris had mentioned it in his final report—a rift, a gateway between worlds. A rumor, at the time. Now, her partner’s face flashed in her mind, the way his eyes had glassed over, the way he’d whispered, “It’s *hungry*,” before the water took him. The snake woman struck. Quinn raised her gun. Bullets. The clique ignored bullets. She dropped the weapon, ducking as a clawed hand swiped at her throat. The horned vendor lunged, a mace in his hand. She dodged, grabbing a meat cleaver from a stall. It clanged in her hand. Herrera moved toward her, his medallion glinting. “Don’t do this, Harlow. Leave. Now.” “Or what?” she said. “Or I’ll make you watch,” he said. His voice was cold, no warmth left. “The gate. It’s not for the living. It eats *souls*.” The snake woman coiled around her ankle, squeezing. Pain seared up her leg. The suit gripped her shoulder, his fingers digging into bone. Quinn brought the cleaver down. Straight through the snake’s head. It let out a shriek, dissolving into black smoke. The horned vendor swung. She ducked, slashing at his thigh. He howled, blood gushing. The winged rats dive-bombed, pecking at her arms. She swiped with the cleaver, slicing through a wing. They scattered. Herrera was gone. The suit was pushing her toward the Cauldron’s edge, where a stone slab lay, cracked, revealing light from below. “Midnight,” he said. “The market’s leaving. And we’re not taking you with us.” Quinn drove the cleaver into his chest. He laughed, blood bubbling from his lips. “Stupid girl. The gate—” The ground shook harder. The torches flickered out. In the darkness, she saw it: a crack in the stone, wider and wider, smoke curling up from it, thick and black, reeking of rot. Herrera was still smiling. “You shouldn’t have come, Harlow. But now you *are* here. And the gate’s *hungry*.” The stone slab split. Quinn hit the ground, rolling. The black smoke engulfed the Cauldron. She could hear screams—human, inhuman—mixing with the roar of wind. The suit’s body dissolved, melting into the smoke like wax. A hand grabbed her arm. Warm. Familiar. Tomás Herrera. His skin was paler, his eyes glowing. “Run,” he said. “Run while you can. And tell them… tell them to *pray*.” The smoke surged. Herrera was pulled in, his arm vanishing. Then, silence. Quinn stumbled to her feet. The market was gone—just a tunnel, the grate already starting to slide shut. She ran, pounding through the dark, until she burst into the alley, rain drenching her. Behind her, the grate clanged closed. She fell to her knees, gasping. The meat cleaver slipped from her hand. Somewhere, a clock struck midnight. And somewhere, in the dark, a door opened.
created_at"2026-02-20T19:43:41.189Z" 2/20/2026, 7:43:41 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency864
moderation_latency(null)
generation_time25744
tokens_prompt4663
tokens_completion3458
native_tokens_prompt4589
native_tokens_completion3216
native_tokens_completion_images(null)
native_tokens_reasoning1029
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"
usage0.001308975
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"021771616621776eed3fa2be8288e45c6ad198b6ab1561a5e98ee"
is_byokfalse
latency751
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771616621-d9JRHlr7YAiryvowRsrB"
upstream_id"021771616621776eed3fa2be8288e45c6ad198b6ab1561a5e98ee"
total_cost0.001308975
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags12
adverbTagCount0
adverbTags(empty)
dialogueSentences32
tagDensity0.375
leniency0.75
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1432
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
68.58% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1432
totalAiIsms9
found
0
word"flickered"
count2
1
word"whisper"
count1
2
word"trembled"
count1
3
word"glinting"
count1
4
word"warmth"
count1
5
word"familiar"
count1
6
word"silence"
count1
7
word"pounding"
count1
highlights
0"flickered"
1"whisper"
2"trembled"
3"glinting"
4"warmth"
5"familiar"
6"silence"
7"pounding"
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
narrationSentences161
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences161
filterMatches(empty)
hedgeMatches(empty)
99.60% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences179
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen28
ratio0.006
matches
0"He smiled,露出 sharp, pointed teeth."
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans16
markdownWords18
totalWords1420
ratio0.013
matches
0"anonymous"
1"clique"
2"“Quinn”"
3"Paramedic"
4"Tomás Herrera"
5"screech"
6"hungry"
7"Bone token"
8"surprise"
9"connected"
10"help"
11"hungry"
12"souls"
13"are"
14"hungry"
15"pray"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1154
uniqueNames14
maxNameDensity1.21
worstName"Herrera"
maxWindowNameDensity3
worstWindowName"Herrera"
discoveredNames
Quinn13
Old1
Bailey1
Morris2
Thames1
Christopher1
Veil1
Market1
High1
Street1
Cauldron3
Tube1
Herrera14
Rain3
persons
0"Quinn"
1"Old"
2"Bailey"
3"Morris"
4"Christopher"
5"Herrera"
6"Rain"
places
0"Thames"
1"High"
2"Street"
3"Cauldron"
globalScore0.893
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1420
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences179
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean24.91
std18.05
cv0.724
sampleLengths
095
161
221
350
410
520
614
722
841
94
1036
1129
1231
1330
147
1578
1610
1737
1857
1929
2020
2113
2234
238
245
2535
2620
2730
2818
2924
3037
3122
3215
3346
344
3545
3613
374
3824
3923
4019
4133
4222
4313
4418
4533
4618
474
4831
497
96.55% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences161
matches
0"was gone"
1"was gone"
2"was pulled"
3"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs239
matches
0"were talking"
1"was saying"
2"was pushing"
15.16% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount10
semicolonCount0
flaggedSentences8
totalSentences179
ratio0.045
matches
0"The suspect—*anonymous*, forensics called him—had nicked a courier outside the Old Bailey an hour prior, left a trail of stolen ledgers with *clique* scrawled on the margins."
1"The scar on his forearm—she’d seen it in the surveillance footage."
2"She pulled at the bars—cold, solid."
3"Rain seeped through cracks in the concrete, but the air was thick, cloying—like overripe fruit and burnt sugar."
4"But the trail was fresh—footprints in the mud, a smudge of something silver (mercury?"
5"Morris had mentioned it in his final report—a rift, a gateway between worlds."
6"She could hear screams—human, inhuman—mixing with the roar of wind."
7"The market was gone—just a tunnel, the grate already starting to slide shut."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount764
adjectiveStacks1
stackExamples
0"lay, cracked, revealing light"
adverbCount15
adverbRatio0.01963350785340314
lyAdverbCount1
lyAdverbRatio0.0013089005235602095
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences179
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences179
mean7.93
std5.7
cv0.719
sampleLengths
08
113
227
31
427
52
617
78
814
98
102
111
128
133
1411
153
163
176
1813
192
201
214
2213
232
2414
2516
263
277
282
293
3015
316
328
333
348
358
363
372
3812
3912
409
416
424
432
447
457
461
476
484
492
43.39% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.30726256983240224
totalSentences179
uniqueOpeners55
25.25% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences132
matches
0"Somewhere, a clock struck midnight."
ratio0.008
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences132
matches
0"She still woke up gasping,"
1"He was faster, lean, legs"
2"He hit the alley mouth,"
3"Her voice was hoarse, wet"
4"He ducked, pressing himself against"
5"He stepped through, then paused,"
6"She slammed her shoulder into"
7"She pulled at the bars—cold,"
8"He’d used it, hidden in"
9"They said it moved every"
10"She glanced up."
11"She ran to the nearest"
12"She dropped the pole, crawled"
13"She followed, her boots squelching."
14"They were talking to a"
15"Her voice was a whisper,"
16"His eyes were milky, no"
17"He smiled,露出 sharp, pointed teeth."
18"Her voice was steady, even."
19"She dropped the weapon, ducking"
ratio0.242
13.03% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount118
totalSentences132
matches
0"The alley reeked of stagnant"
1"Harlow Quinn’s boots slid on"
2"The suspect—*anonymous*, forensics called him—had"
3"The shadowy network of supernatural"
4"She still woke up gasping,"
5"Rain sluiced down, turning the"
6"The suspect darted left, between"
7"Quinn swerved, her shoulder slamming"
8"He was faster, lean, legs"
9"The scar on his forearm—she’d"
10"A knife, maybe."
11"He hit the alley mouth,"
12"Quinn skidded too, skidding to"
13"Skin olive, hair curly dark,"
14"The paramedic who treated the"
15"The one who vanished from"
16"Her voice was hoarse, wet"
17"A wolf’s smile."
18"The words came out harder"
19"Herrera spun away."
ratio0.894
37.88% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences132
matches
0"Now, her partner’s face flashed"
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences34
technicalSentenceCount0
matches(empty)
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount0
fancyTags(empty)
dialogueSentences32
tagDensity0.281
leniency0.563
rawRatio0
effectiveRatio0
85.3366%