Run: 2026-02-20-01KHYAGPVDCRJ81MXG4JQKR94T

Run Details

Duration:
1m 7s
Cost:
$0.000912
Provider:
Novita

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 chipped Formica tabletop stuck to the back of my forearm. Coffee, lukewarm and bitter, pooled in the paper cup. “Ritualistic,” Davies was saying, again. “Three chalk circles, a handful of dried lavender, and a dead pigeon. Sounds less ‘ritualistic,’ more ‘eccentric bird enthusiast’ to me.” I didn’t look at him, focusing on the faint scent clinging to the air – ozone and something acrid, like burnt sugar. We were deep beneath Camden, in what had once been a disused platform of the Northern Line. Now, it served as tonight’s unfortunate gallery for the macabre. The Veil Market wouldn't open for another few hours, but someone had decidedly beaten the vendors to the space. Davies, bless his eagerness, was already photographing everything from five different angles. He was a good copper, diligent, meticulous. Just… easily led. “The symbols, Harlow. The way they’re arranged. It’s textbook.” I finally raised my gaze, taking in the scene again. The platform was dimly lit by portable floodlights, their beams cutting through the dampness. Beyond the chalk, ornate carvings – barely visible – adorned the curved walls, remnants of a failed attempt to gentrify the station in the 1930s. The pigeon, sprawled in the centre of the largest circle, looked remarkably…clean. No blood, no obvious trauma. Just…still. “Textbook for what, exactly?” I asked, my voice echoing slightly. “Occult murders. We had a similar one in Bristol, remember? Reversed sigils, animal sacrifice, the whole shebang.” He straightened, adjusting his spectacles. “This is escalating. It started with the odd vandalism and now…this.” Escalating. Everyone loved a good escalation. Made them feel important. I took a slow sip of the coffee, grimacing. “Bristol had Sanskrit mantras spray-painted on the victim’s face. These are…sloppy. Like someone saw a spooky movie and decided to give it a go.” “Don't underestimate them, Harlow. You remember what happened with DS Morris.” The mention of Morris, my former partner, was a low blow, even for Davies. It always was. He knew I still wrestled with the details of his death, the inconsistencies, the things that just didn’t *fit*. Davies had always favoured the ‘rogue element’ theory— a drug deal gone wrong, a disgruntled informant. I, on the other hand, kept circling back to the strange symbols found at the scene, the odd electrical interference, the witness who swore they saw a shadow move too quickly to be human. “Morris is irrelevant. This is a dead bird, Davies.” “Irrelevant? Everything’s connected, Harlow! We’re seeing a pattern. Someone is dabbling in things they shouldn’t be.” He gestured emphatically with a gloved hand. "Plus, the bone token." A small, intricately carved bone, no larger than my thumb, lay next to the outermost circle. A key to the Veil Market. The implication was clear; someone connected to the underground market was involved. Which, admittedly, complicated matters. The Market was a law unto itself, a haven for the strange and illicit. Getting information out of those shadows was like pulling teeth from a shark. I crouched, ignoring the damp chill seeping through my trousers. My gaze travelled across the circles, noting the unevenness of the chalk lines, the haphazard scattering of lavender. A detail nagged at me. “The lavender. It’s not just thrown. It’s…arranged. In a spiral.” Davies scoffed. “Artistic flair, perhaps? They’re making a statement.” I reached out, carefully touching one of the dried flower heads. It crumbled easily, releasing a faint, cloying scent. “No. It’s deliberate. And it’s old. Really old. This isn’t fresh lavender. It’s been dried for years, maybe decades.” He knelt beside me, examining the flowers with a magnifying glass. "So?" “So, the Veil Market doesn’t sell antique lavender. They sell…current stock. Enchanted herbs, potent mixtures, but none of it aged. Someone went to a lot of trouble to source this specific lavender.” He frowned. “Alright, that’s…odd. But it doesn’t change the fact we have a staged scene.” I stood, walking a slow circle around the arrangement. I noticed something else. Dust patterns. There were distinct, overlapping sets of footprints – several pairs, all wearing expensive, modern trainers. Not the sort of footwear you'd expect from seasoned occultists. And something else, a faint, shimmering residue on the platform floor, visible only in the angled light. “Davies, get forensics to check for traces of…iridescence. It's subtle, but its there. Like oil on water.” “Iridescence? What are you thinking?” I didn’t answer, walking towards the edge of the platform, where the darkness pressed in. The air grew colder, charged with a static electricity that prickled my skin. I pulled out my watch, a worn leather thing I’d had for years, a habit more than a timekeeping necessity. It wasn't responding. The second hand was stuttering. “Damn it.” I glanced down at the worn leather strap. Usually unaffected by mundane interference, the watch only faltered when encountering significant supernatural energy. “What is it?” Davies asked, his voice tight with concern. “My watch. It’s acting up.” I scanned the darkness beyond the floodlight’s reach. “I don’t think this is about a ritual, Davies. I think someone was *interrupted*.” “Interrupted?” “Look at the scene. It’s messy, incomplete. The lavender isn’t a flourish, it’s a distraction. And the pigeon… it wasn't sacrificed, it was…placed. Like a marker.” I pulled out my phone and began scrolling through photos Eva had sent me last week. Images of Sigils, intricate diagrams she'd pulled from the British Museum's restricted archives. Symbols designed to act as waypoints, markers for traversing…between realms. "Eva sent me something interesting, last week," I mentioned, stopping on a complex geometric shape. Similar, but not identical to one of the chalk drawings. "These are used for…temporary portals. They're unstable, requiring specific conditions. And a lot of energy." Davies, finally beginning to see something beyond the ‘textbook’ scenario, joined me, peering at the images on my screen. “Portals? You think someone was trying to open a…gate?” “Not open, per se. More like… nudge. Test. See if it would give. And, I suspect, they found out this isn’t a safe place to do it.” A metallic clang echoed from the far end of the platform. Davies and I both spun, hands instinctively moving towards our weapons. A figure emerged from the shadows, silhouetted against the flickering lights. “Detective Quinn? DS Davies? Sorry to intrude, just the Market foreman. Checking for damage.” The man was wiry, with a nervous habit of adjusting his cap. He clearly hadn't expected to find us. “Damage?” I asked, my voice carefully neutral. “Yeah, some of the barriers were knocked askew. Thought maybe squatters. Happens sometimes.” He glanced at the chalk circles, his eyes widening. “Oh. What’s all this, then?” “That’s what we’re trying to figure out,” I replied, my gaze fixed on his boots. Expensive, new trainers. And a faint trace of shimmering iridescence clinging to the soles. He swallowed hard. "Right. Well, I’ll just…be going, then.” He turned to leave, but I moved faster, stepping into his path. "Hold on a moment," I said, my tone hardening. "Those are new trainers, aren't they? Just bought them?" He stammered, "Uh…yes. Just last week. Sale at Foot Locker." "And you were down here…checking for damage?" "Y-yes. Like I said." He avoided my eyes. My hand tightened on the grip of my pistol. Something wasn't right. The foreman was lying. And as I watched him, a ripple distorted the air behind him, a shimmering heat haze that briefly revealed—for only a fleeting moment—a glimpse of something *else*. Something that didn’t belong in this world. Before it vanished, leaving behind only the flickering lights and the scent of burnt sugar.
created_at"2026-02-20T20:05:34.214Z" 2/20/2026, 8:05:34 PM
model"google/gemma-3-27b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1377
moderation_latency(null)
generation_time66478
tokens_prompt4696
tokens_completion2136
native_tokens_prompt4549
native_tokens_completion1852
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"
usage0.000911731
router(null)
provider_responses
0
endpoint_id"1d5251f0-02fd-484b-bb6c-d346277c8a0d"
is_byokfalse
latency253
model_permaslug"google/gemma-3-27b-it"
provider_name"Phala"
status429
1
endpoint_id"cf530f36-7cb8-4eb9-8953-880eef952af3"
id"9500d249-35e4-4ef3-991c-4d9f3c60fdb7"
is_byokfalse
latency1302
model_permaslug"google/gemma-3-27b-it"
provider_name"Novita"
status200
api_type"completions"
id"gen-1771617934-Nz1OKlgoi7pH6TLGZYfD"
upstream_id"9500d249-35e4-4ef3-991c-4d9f3c60fdb7"
total_cost0.000911731
cache_discount(null)
upstream_inference_cost0
provider_name"Novita"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags17
adverbTagCount2
adverbTags
0"Davies had always [always]"
1"He gestured emphatically [emphatically]"
dialogueSentences40
tagDensity0.425
leniency0.85
rawRatio0.118
effectiveRatio0.1
80.16% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1260
totalAiIsmAdverbs5
found
0
adverb"slightly"
count1
1
adverb"quickly"
count1
2
adverb"carefully"
count2
3
adverb"really"
count1
highlights
0"slightly"
1"quickly"
2"carefully"
3"really"
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)
60.32% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1260
totalAiIsms10
found
0
word"macabre"
count1
1
word"echoing"
count1
2
word"implication"
count1
3
word"chill"
count1
4
word"charged"
count1
5
word"scanned"
count1
6
word"intricate"
count1
7
word"complex"
count1
8
word"echoed"
count1
9
word"fleeting"
count1
highlights
0"macabre"
1"echoing"
2"implication"
3"chill"
4"charged"
5"scanned"
6"intricate"
7"complex"
8"echoed"
9"fleeting"
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
narrationSentences85
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences85
filterMatches
0"feel"
1"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1260
ratio0.002
matches
0"fit"
1"interrupted"
2"else"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount820
uniqueNames16
maxNameDensity0.98
worstName"Davies"
maxWindowNameDensity1.5
worstWindowName"Davies"
discoveredNames
Formica1
Camden1
Northern1
Line1
Veil2
Market3
Escalating1
Morris1
Davies8
Usually1
Eva1
Sigils1
British1
Museum1
Similar1
Expensive1
persons
0"Market"
1"Morris"
2"Davies"
3"Usually"
4"Eva"
5"Sigils"
6"Museum"
places
0"Veil"
1"British"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences59
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1260
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences108
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean30
std21.25
cv0.708
sampleLengths
025
189
231
367
410
533
643
711
886
99
1027
1165
1243
139
1438
1512
1632
1715
1857
1917
205
2156
2224
2310
2427
251
2626
2739
2840
2928
3027
3133
3233
337
3427
3529
3621
3718
3810
397
408
4165
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences85
matches(empty)
12.21% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs142
matches
0"was saying"
1"wasn't responding"
2"was stuttering"
3"was lying"
10.58% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount1
flaggedSentences5
totalSentences108
ratio0.046
matches
0"“Three chalk circles, a handful of dried lavender, and a dead pigeon. Sounds less ‘ritualistic,’ more ‘eccentric bird enthusiast’ to me.” I didn’t look at him, focusing on the faint scent clinging to the air – ozone and something acrid, like burnt sugar."
1"Beyond the chalk, ornate carvings – barely visible – adorned the curved walls, remnants of a failed attempt to gentrify the station in the 1930s."
2"The implication was clear; someone connected to the underground market was involved."
3"There were distinct, overlapping sets of footprints – several pairs, all wearing expensive, modern trainers."
4"And as I watched him, a ripple distorted the air behind him, a shimmering heat haze that briefly revealed—for only a fleeting moment—a glimpse of something *else*."
85.15% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount509
adjectiveStacks0
stackExamples(empty)
adverbCount29
adverbRatio0.05697445972495088
lyAdverbCount7
lyAdverbRatio0.0137524557956778
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean11.67
std7.62
cv0.653
sampleLengths
011
19
25
343
417
510
619
712
87
91
102
119
1210
1314
1425
1512
165
171
1810
1922
2011
211
225
234
249
2524
2611
2714
283
2919
3016
3134
329
3323
344
3516
366
3712
384
3914
4013
4110
4218
435
4410
452
467
4711
488
4919
89.81% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.5555555555555556
totalSentences108
uniqueOpeners60
43.29% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences77
matches
0"Usually unaffected by mundane interference,"
ratio0.013
43.38% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences77
matches
0"I didn’t look at him,"
1"We were deep beneath Camden,"
2"He was a good copper,"
3"I finally raised my gaze,"
4"I asked, my voice echoing"
5"He straightened, adjusting his spectacles"
6"I took a slow sip"
7"It always was."
8"He knew I still wrestled"
9"I, on the other hand,"
10"He gestured emphatically with a"
11"I crouched, ignoring the damp"
12"My gaze travelled across the"
13"I reached out, carefully touching"
14"It crumbled easily, releasing a"
15"He knelt beside me, examining"
16"I stood, walking a slow"
17"I noticed something else."
18"I didn’t answer, walking towards"
19"I pulled out my watch,"
ratio0.442
57.40% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount62
totalSentences77
matches
0"The chipped Formica tabletop stuck"
1"Coffee, lukewarm and bitter, pooled"
2"Davies was saying, again"
3"I didn’t look at him,"
4"We were deep beneath Camden,"
5"The Veil Market wouldn't open"
6"Davies, bless his eagerness, was"
7"He was a good copper,"
8"I finally raised my gaze,"
9"The platform was dimly lit"
10"The pigeon, sprawled in the"
11"I asked, my voice echoing"
12"He straightened, adjusting his spectacles"
13"Everyone loved a good escalation."
14"I took a slow sip"
15"The mention of Morris, my"
16"It always was."
17"He knew I still wrestled"
18"Davies had always favoured the"
19"I, on the other hand,"
ratio0.805
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences77
matches
0"Now, it served as tonight’s"
1"Before it vanished, leaving behind"
ratio0.026
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences37
technicalSentenceCount1
matches
0"I, on the other hand, kept circling back to the strange symbols found at the scene, the odd electrical interference, the witness who swore they saw a shadow mov…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount6
matches
0"Davies was saying, again"
1"I asked, my voice echoing slightly"
2"Davies asked, his voice tight with concern"
3"I asked, my voice carefully neutral"
4"He glanced, his eyes widening"
5"I said, my tone hardening"
75.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"Davies was saying (be say)"
1"I mentioned (mention)"
2"He stammered (stammer)"
dialogueSentences40
tagDensity0.2
leniency0.4
rawRatio0.375
effectiveRatio0.15
81.9099%