Run: 2026-02-20-01KHYAAYGMDP4EYXNB98SZW9SE

Run Details

Duration:
21.7s
Cost:
$0.000316
Provider:
DeepInfra

Model input

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

Model response

AI
The rain tasted of brine and something metallic, clinging to the back of my throat like a bad memory. It hammered against the corrugated iron of the Tube station platform, a relentless, discordant percussion that did nothing to soothe the knot tightening in my stomach. The air hung thick with the scent of damp concrete, rotting vegetables, and something vaguely… floral. Not the rose-and-lavender kind of floral, but something cloying, almost artificial, like a perfume trying too hard. I adjusted the worn leather watch on my left wrist, the rhythmic tick-tick-tick a small, familiar anchor in the chaos. Seventeen years on the Met, and you still got the jitters. Especially when the case smelled like a bargain bin occult ritual. Detective Harlow Quinn. That was the name on the badge, the name everyone knew. But around here, in the belly of Camden, they called me Quinn. And frankly, most of them didn’t care about the name at all. They just wanted me to leave them alone. I stepped further into the cavernous platform, the last sliver of daylight swallowed by the gloom. The station was abandoned, a skeletal remnant of the Northern Line, choked with weeds and forgotten echoes. It had been chosen, apparently, for its… discretion. The Veil Market moved locations every full moon, and this forgotten corner of London held a particular potency, a thinness between worlds that made it ideal. A figure emerged from the shadows, a familiar silhouette against the grey concrete. Eva Kowalski. My best friend, my research assistant, and the only person who seemed to genuinely understand the… peculiarities of my work. She was bundled in a perpetually damp, oversized cardigan, her curly red hair plastered to her forehead. Round glasses slid down her nose as she nervously tucked a strand behind her left ear. A worn leather satchel, overflowing with books and arcane paraphernalia, swung at her side. “You’re late,” she said, her voice a quiet murmur above the rain. “The silence is… disruptive.” “Traffic,” I grunted, gesturing to the yellow tape cordoning off a section of the platform. “And a witness reported a disturbance. A rather pungent one.” I knelt beside the body. The victim, a man in a tailored grey suit, lay sprawled on the tracks, an unnatural stillness clinging to him. Not the messy, haphazard death of an accident. This was… precise. Surgical almost. A single, crimson stain bloomed on his starched white shirt, centered over his heart. A single, perfect drop. “The Veil Compass would have been useful,” she observed, pulling a small, brass compass from her satchel. It had a patina of verdigris, and the face was etched with protective sigils. The needle, a delicate sliver of gold, was frozen, pointing directly at the body. “It’s reacting strongly. This place is saturated with residual energy.” “Residual energy doesn’t explain the lack of any forced entry,” I said, examining the man's pockets. Empty. “No witnesses. No sign of a struggle. It's like he simply… evaporated.” “Or was carefully removed,” Eva countered, her green eyes scanning the platform. “Perhaps someone wanted to create a… distraction.” “Distraction for what?” I asked, rising to my feet. The rain seemed to intensify, drumming a frantic rhythm against the roof. I noticed something then – a faint, floral scent, stronger here, mingling with the damp concrete. It was the same cloying sweetness I’d detected earlier. And something else... a subtle metallic tang, almost like old blood. “The symbols,” Eva said, pointing to a series of intricate carvings etched into the concrete wall beside the body. “They’re archaic, but familiar. Variant of a Lesser Sigil for transference. They don’t usually use this variation. It’s… unstable.” “Unstable how?” I demanded, pulling out my notepad. I began to sketch the symbols, meticulously documenting every detail. "Transference of *what*? Where?" “It suggests a deliberate severance, a routing of consciousness,” she explained, her brow furrowed in concentration. “Not a simple homicide. More… a carefully orchestrated extraction.” She took a step closer, her nose wrinkling. “And the scent… it's Nightbloom. Rare, expensive. Usually used in high-end summoning rituals.” “Nightbloom,” I repeated, scribbling the name down. “Black market ingredient. What does that tell us?" “It tells us,” Eva said, her voice low, “that we're dealing with someone who knows how to play this game. Someone with access to the Veil Market.” A flicker of movement caught my eye. At the far end of the platform, partially obscured by the shadows, stood a man in a dark overcoat. He was motionless, watching us. His face was hidden by the brim of a fedora, but I recognized his silhouette— Silas Blackwood. A collector of rare and dangerous artifacts. A man I’d been tracking for months, ever since I started suspecting the clique surrounding Aurora Davies was involved in criminal activity. “Blackwood,” I said, my hand instinctively moving towards my holster. “What are you doing here?” He didn't respond, simply raising a gloved hand and offering a single object: a small, silver vial filled with a viscous, purple liquid. It emitted the overwhelming scent of Nightbloom. “A little something for the investigation,” he said, his voice a smooth, unsettling purr. “To aid your… understanding.” Eva gasped and stepped back, her hand flying to her mouth. “Don’t touch it, Harlow!” she shouted, her voice laced with panic. “That’s a suppressant! Used to neutralize traces of supernatural residue. It masks the energy signature, but it also… alters your perception.” I hesitated, my gaze locked on the vial. It was undeniably clever, a calculated attempt to muddy the waters, to steer me away from the truth. But something about the way Blackwood held it, the almost arrogant confidence in his eyes – it felt… staged. Too perfect. Suddenly, the Veil Compass in Eva's satchel spun wildly, the needle vibrating violently before settling on a point directly behind Blackwood. It wasn't pointing toward a portal, or a rift, but toward a seemingly solid section of concrete wall. A tiny, almost invisible seam ran along the surface, barely discernible beneath the grime and damp. “There,” Eva hissed, pointing to the wall. “That’s where he’s hiding something.” I moved quickly, ignoring the metallic tang in the air and the unnerving pull of the Veil Compass. I slammed my shoulder against the wall, and with a groan of rusted hinges, a section of the concrete slid inwards, revealing a narrow, dark passage. The scent of Nightbloom intensified, suffocatingly sweet. As I stepped into the passage, I noticed something else – a faint, rhythmic chanting echoing from within. And at the far end, bathed in the flickering light of a single, black candle, stood Aurora Davies, surrounded by a small group of figures cloaked in shadow. She was holding a Veil Compass, her eyes glazed over, her fingers tracing the protective sigils on its brass casing. And next to her, examining a small, intricately carved box, was Silas Blackwood. A small, almost imperceptible smile played on his lips. “Looks like you found us, Detective Quinn,” Aurora said, her voice eerily calm. “Or perhaps you were *invited*.” The chanting grew louder, more insistent. And as I stared at the scene unfolding before me, a chilling realization dawned on me: this wasn't just a crime scene. It was a carefully constructed ritual. A ritual designed to erase, to conceal, to *replace*. And I was standing right in the middle of it.
created_at"2026-02-20T20:02:25.452Z" 2/20/2026, 8:02:25 PM
model"google/gemma-3-4b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency340
moderation_latency(null)
generation_time21525
tokens_prompt4696
tokens_completion1996
native_tokens_prompt4545
native_tokens_completion1677
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"
usage0.00031596
router(null)
provider_responses
0
endpoint_id"d3de3bd4-81bc-48fb-924f-2a87b2a36e75"
id"chatcmpl-R7aNhjRnWWeDubnMf860STTT"
is_byokfalse
latency57
model_permaslug"google/gemma-3-4b-it"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771617745-xUseWJ186I7U5irz3mJ7"
upstream_id"chatcmpl-R7aNhjRnWWeDubnMf860STTT"
total_cost0.00031596
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
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences31
tagDensity0.581
leniency1
rawRatio0
effectiveRatio0
75.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1229
totalAiIsmAdverbs6
found
0
adverb"nervously"
count1
1
adverb"carefully"
count3
2
adverb"suddenly"
count1
3
adverb"quickly"
count1
highlights
0"nervously"
1"carefully"
2"suddenly"
3"quickly"
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)
10.50% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1229
totalAiIsms22
found
0
word"stomach"
count1
1
word"rhythmic"
count2
2
word"familiar"
count3
3
word"gloom"
count1
4
word"echoes"
count1
5
word"silence"
count1
6
word"perfect"
count2
7
word"etched"
count2
8
word"scanning"
count1
9
word"intricate"
count1
10
word"furrowed"
count1
11
word"flicker"
count1
12
word"calculated"
count1
13
word"echoing"
count1
14
word"tracing"
count1
15
word"chilling"
count1
16
word"constructed"
count1
highlights
0"stomach"
1"rhythmic"
2"familiar"
3"gloom"
4"echoes"
5"silence"
6"perfect"
7"etched"
8"scanning"
9"intricate"
10"furrowed"
11"flicker"
12"calculated"
13"echoing"
14"tracing"
15"chilling"
16"constructed"
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
emotionTells1
narrationSentences89
matches
0"d with panic"
78.65% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences89
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences102
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen28
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1227
ratio0.002
matches
0"what"
1"invited"
2"replace"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions1
matches
0"But around here, in the belly of Camden, they called me Quinn."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1009
uniqueNames19
maxNameDensity0.69
worstName"Eva"
maxWindowNameDensity1.5
worstWindowName"Veil"
discoveredNames
Tube1
Met1
Harlow1
Quinn2
Camden1
Northern1
Line1
Veil4
Market1
London1
Kowalski1
Empty1
Eva7
Silas2
Blackwood4
Aurora3
Davies2
Nightbloom2
Compass3
persons
0"Harlow"
1"Quinn"
2"Line"
3"Market"
4"Kowalski"
5"Eva"
6"Silas"
7"Blackwood"
8"Aurora"
9"Davies"
10"Nightbloom"
places
0"London"
globalScore1
windowScore1
47.26% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences73
glossingSentenceCount3
matches
0"smelled like a bargain bin occult ritual"
1"d been chosen, apparently, for its…"
2"but toward a seemingly solid section of co"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.815
wordCount1227
matches
0"Not the rose-and-lavender kind of floral, but something cloying, almost artificial, like a perfume trying"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences102
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs26
mean47.19
std29.98
cv0.635
sampleLengths
0120
1113
282
316
481
555
629
719
857
938
1022
1146
1215
1327
1477
1515
1630
1718
1843
1947
2055
2112
2251
2388
2418
2553
81.61% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences89
matches
0"was abandoned"
1"been chosen"
2"was bundled"
3"was etched"
4"was hidden"
5"was involved"
75.78% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs161
matches
0"wasn't pointing"
1"was holding"
2"was standing"
30.81% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences4
totalSentences102
ratio0.039
matches
0"I noticed something then – a faint, floral scent, stronger here, mingling with the damp concrete."
1"His face was hidden by the brim of a fedora, but I recognized his silhouette— Silas Blackwood."
2"But something about the way Blackwood held it, the almost arrogant confidence in his eyes – it felt…"
3"As I stepped into the passage, I noticed something else – a faint, rhythmic chanting echoing from within."
90.40% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1010
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.04455445544554455
lyAdverbCount27
lyAdverbRatio0.026732673267326732
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences102
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences102
mean12.03
std6.67
cv0.555
sampleLengths
019
126
215
31
417
520
611
711
83
911
1012
1112
128
1316
1417
157
161
1726
1813
192
2016
214
2217
2316
2414
2512
264
2715
2815
2920
308
312
321
332
3414
354
3617
3714
3814
3910
4016
411
4212
4312
447
459
4612
4716
489
493
73.86% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.46078431372549017
totalSentences102
uniqueOpeners47
83.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences80
matches
0"Especially when the case smelled"
1"Suddenly, the Veil Compass in"
ratio0.025
45.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences80
matches
0"It hammered against the corrugated"
1"I adjusted the worn leather"
2"They just wanted me to"
3"I stepped further into the"
4"It had been chosen, apparently,"
5"My best friend, my research"
6"She was bundled in a"
7"she said, her voice a"
8"I grunted, gesturing to the"
9"I knelt beside the body"
10"she observed, pulling a small,"
11"It had a patina of"
12"I said, examining the man's"
13"I asked, rising to my"
14"I noticed something then –"
15"It was the same cloying"
16"I demanded, pulling out my"
17"I began to sketch the"
18"she explained, her brow furrowed"
19"She took a step closer,"
ratio0.438
60.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount64
totalSentences80
matches
0"The rain tasted of brine"
1"It hammered against the corrugated"
2"The air hung thick with"
3"I adjusted the worn leather"
4"Detective Harlow Quinn."
5"That was the name on"
6"They just wanted me to"
7"I stepped further into the"
8"The station was abandoned, a"
9"It had been chosen, apparently,"
10"The Veil Market moved locations"
11"A figure emerged from the"
12"My best friend, my research"
13"peculiarities of my work."
14"She was bundled in a"
15"A worn leather satchel, overflowing"
16"she said, her voice a"
17"I grunted, gesturing to the"
18"I knelt beside the body"
19"The victim, a man in"
ratio0.8
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences80
matches(empty)
ratio0
76.41% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount4
matches
0"It hammered against the corrugated iron of the Tube station platform, a relentless, discordant percussion that did nothing to soothe the knot tightening in my s…"
1"The Veil Market moved locations every full moon, and this forgotten corner of London held a particular potency, a thinness between worlds that made it ideal."
2"My best friend, my research assistant, and the only person who seemed to genuinely understand the…"
3"She was holding a Veil Compass, her eyes glazed over, her fingers tracing the protective sigils on its brass casing."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount7
matches
0"she said, her voice a quiet murmur above the rain"
1"Eva countered, her green eyes scanning the platform"
2"She took, her nose wrinkling"
3"Eva said, her voice low,"
4"I said, my hand instinctively moving towards my holster"
5"he said, his voice a smooth, unsettling purr"
6"Aurora said, her voice eerily calm"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount7
fancyTags
0"I grunted (grunt)"
1"she observed (observe)"
2"I demanded (demand)"
3"she explained (explain)"
4"I repeated (repeat)"
5"she shouted (shout)"
6"Eva hissed (hiss)"
dialogueSentences31
tagDensity0.484
leniency0.968
rawRatio0.467
effectiveRatio0.452
73.6400%