Run: 2026-02-20-01KHYAJ6T57PM0VRK4GQS9RDWH

Run Details

Duration:
1m 5s
Cost:
$0.000644
Provider:
DeepInfra

Model input

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

Model response

AI
The slick cobbles offered no purchase. Each stride felt like skating on glass, the rain a relentless curtain blurring the sodium glow of the Soho streetlights. He moved like a phantom, a dark shape swallowed momentarily by the spray of passing taxis, then reappearing just ahead. I hadn't expected him to *run*. Tomás Herrera, the discreet paramedic, the man who’d stitched up more than a few of Silas’ clientele, was surprisingly fleet-footed for someone who spent his days cradling broken bones and administering… unorthodox remedies. “Herrera!” I barked, the sound lost in the drone of the city. My breath hitched, burning in my lungs. Forty-one years old, and I was getting winded chasing a man a decade my junior. Morris would have been laughing. Morris, who could outrun a greyhound after a week on desk duty. He glanced back, a flicker of dark eyes in the gloom. No acknowledgement, no plea for reason. Just panicked momentum. He veered sharply left, disappearing into a narrow alley behind a row of kebab shops. The smell of lamb and spices momentarily eclipsed the metallic tang of rain. I pushed after him, shoving past a cluster of late-night revelers, earning a chorus of indignant protests. The alley dwindled, the brick walls closing in, slick with moisture. Graffiti crawled across the surfaces, a chaotic tapestry of tags and half-formed images. A refuse bin overflowed, attracting a swarm of rats. Herrera had reached the end, shoulder-to-shoulder with a reinforced steel door, almost hidden by the shadows. A single, battered green neon sign flickered above: The Raven’s Nest. He didn’t fumble for a key. He didn’t bother with subtlety. He simply slammed his shoulder against the door, the metal groaning in protest. It popped open with a resounding clang, and he vanished inside. Silas’ bar. Of course. I slowed, my hand instinctively resting on the butt of my service weapon. The Raven’s Nest was known to me, its reputation a delicate balance of legitimate business and shadowy dealings. Silas, the owner, was a neutral party, a purveyor of strong drinks and discreet silence. He tolerated a certain level of… clientele, as long as it didn’t spill out onto the streets. I’d questioned Silas more than once about the comings and goings of the “clique”, the tight-knit group of individuals with unusually resilient health and a penchant for operating just outside the boundaries of the law. He had always been predictably unhelpful, offering a shrug and a mumbled platitude about “keeping the peace.” But Herrera wasn’t a regular. Not that Silas would ever admit to knowing. The few times I'd seen him near the Nest, he was always hovering on the periphery, a concerned observer, never fully integrated. What was he doing running *into* it? The rain intensified, drumming a frenetic rhythm on the corrugated iron roof of the alley. I took a deep breath, tasting the damp, acrid air. The logical part of my brain screamed caution. Go get a warrant. Assemble a team. Approach this methodically. But logic had a way of abandoning me when it came to this case, to the unsettling feeling I’d had since Morris died. The unanswered questions, the muffled whispers, the sense of something dark and ancient lurking beneath the surface of the city. I pushed open the door, the hinges protesting with a metallic screech. The air inside was thick with the smell of stale beer, tobacco smoke, and something else, something faintly herbal, almost medicinal. A low hum of conversation washed over me, punctuated by the clinking of glasses and the mournful wail of a blues guitar. The bar was dimly lit, the only illumination coming from a series of antique lamps casting long, distorted shadows across the room. The walls were covered in old maps, nautical charts, and faded black-and-white photographs depicting scenes of faraway lands and forgotten expeditions. Silas stood behind the bar, polishing glasses with a practiced hand. He didn’t look surprised to see me. He rarely did. His face, a roadmap of wrinkles and hard-won wisdom, remained impassive. “Detective Quinn,” he greeted, his voice a gravelly rasp. “Unexpected pleasure. Rough night for a stroll.” “Herrera,” I said, cutting to the chase. “Saw him come in.” Silas’s eyes flickered momentarily, then returned to their usual neutral expression. “Herrera? Can’t say I noticed. Busy night.” “Don’t insult my intelligence, Silas. He practically barrelled through the door.” “People come and go, Detective. This is a public establishment.” I scanned the room, my gaze sweeping over the scattered patrons. A mix of the usual suspects: artists, musicians, small-time criminals, and the occasional well-dressed individual with a predatory air. Herrera was nowhere to be seen. “He didn’t stay in the bar,” I stated, my voice low and controlled. Silas paused his polishing, his expression finally betraying a flicker of something – annoyance, perhaps, or caution. “Back room. Meeting. Private.” “Private with whom?” He shrugged, a gesture that managed to convey both innocence and defiance. "Wouldn’t know." The back room. The rumors about a hidden chamber behind a bookshelf, used for clandestine meetings, had circulated for years. I’d never bothered to investigate, dismissing them as urban legends. Until now. I walked towards the back of the bar, my boots echoing on the worn wooden floor. The bookshelf was exactly as I imagined it: crammed with dusty volumes, their spines faded and cracked. A closer inspection revealed a subtle seam running down the center of one section. A carefully concealed latch. I pressed it, and with a soft click, the bookshelf swung inward, revealing a narrow passageway leading into darkness. The herbal scent from the bar was stronger here, mingled with a damp, earthy aroma. “Going somewhere, Detective?” Silas’s voice echoed from behind me. I didn't turn. “Just following a lead.” “That lead could be unpleasant.” “I’m familiar with unpleasant,” I replied, stepping into the passageway. The bookshelf swung shut behind me, plunging me into near-total darkness. I fumbled for my torch, switching it on, and swept the beam across the cramped space. It was a stone-walled corridor, descending at a steep angle. The air was heavy, almost suffocating. The passageway opened into a cavernous chamber, the air thick with the smell of mildew and something undeniably…wrong. This wasn’t part of the bar. This was something else entirely. The walls were lined with shelves stacked with jars containing strange specimens: preserved organs, pickled insects, and unidentifiable organic matter. Tables were littered with alchemical equipment: retorts, beakers, and vials filled with bubbling liquids. And at the far end, bathed in the eerie glow of gas lamps, was a bustling marketplace. Not a farmers market. Not a flea market. Something far more… esoteric. The Veil Market. I’d heard stories, dismissed them as the ravings of conspiracy theorists. A subterranean black market, accessible only with a bone token, that moved locations with every full moon. A place where you could buy anything your dark heart desired: enchanted artifacts, banned substances, forbidden knowledge. And apparently, Tomás Herrera. He was standing near a stall draped with velvet cloth, haggling with a gaunt figure in a hooded robe. His back was to me, but I recognized the set of his shoulders, the way his hands moved as he spoke. This was beyond anything I’d anticipated. Beyond Silas’ discreet dealings. This was a world I didn’t understand, a world that felt…dangerous. But I wasn’t about to turn back now. I adjusted my grip on my torch, and began to move forward, deeper into the heart of the market. Before I could even take three steps, the hooded figure shoved something into Herrera's hands - a small, intricately carved box, no bigger than my palm. Just as Herrera turned to leave, a hand clamped down on his shoulder. A gruff voice boomed, "Well, well, well. Look what the cat dragged in." I sprinted.
created_at"2026-02-20T20:06:23.329Z" 2/20/2026, 8:06:23 PM
model"google/gemma-3-27b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1661
moderation_latency(null)
generation_time65043
tokens_prompt4687
tokens_completion2120
native_tokens_prompt4515
native_tokens_completion1770
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"
usage0.0006444
router(null)
provider_responses
0
endpoint_id"8f22002c-c045-446f-a1b9-9896133536b8"
id"chatcmpl-ReoFWRlnh8oEinouwm0oIwg3"
is_byokfalse
latency55
model_permaslug"google/gemma-3-27b-it"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771617983-4Z46Hj13Ckwaa2pVF9sD"
upstream_id"chatcmpl-ReoFWRlnh8oEinouwm0oIwg3"
total_cost0.0006444
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
94.74% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount1
adverbTags
0"He had always [always]"
dialogueSentences19
tagDensity0.474
leniency0.947
rawRatio0.111
effectiveRatio0.105
92.40% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1315
totalAiIsmAdverbs2
found
0
adverb"sharply"
count1
1
adverb"carefully"
count1
highlights
0"sharply"
1"carefully"
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)
42.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1315
totalAiIsms15
found
0
word"flicker"
count2
1
word"gloom"
count1
2
word"chaotic"
count1
3
word"tapestry"
count1
4
word"flickered"
count2
5
word"silence"
count1
6
word"sense of"
count1
7
word"scanned"
count1
8
word"clandestine"
count1
9
word"echoing"
count1
10
word"echoed"
count1
11
word"familiar"
count1
12
word"velvet"
count1
highlights
0"flicker"
1"gloom"
2"chaotic"
3"tapestry"
4"flickered"
5"silence"
6"sense of"
7"scanned"
8"clandestine"
9"echoing"
10"echoed"
11"familiar"
12"velvet"
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
narrationSentences107
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences107
filterMatches(empty)
hedgeMatches
0"managed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences118
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords2
totalWords1303
ratio0.002
matches
0"run"
1"into"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount1195
uniqueNames9
maxNameDensity0.59
worstName"Herrera"
maxWindowNameDensity1.5
worstWindowName"Herrera"
discoveredNames
Soho1
Herrera7
Raven2
Nest3
Silas7
Morris3
Veil1
Market1
Tomás2
persons
0"Herrera"
1"Raven"
2"Silas"
3"Morris"
4"Tomás"
places
0"Soho"
1"Nest"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences83
glossingSentenceCount1
matches
0"felt like skating on glass, the rain a"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1303
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences118
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean31.02
std22.58
cv0.728
sampleLengths
085
151
265
360
435
54
663
752
842
943
1043
1112
1286
1332
1416
1511
1618
1711
1810
1936
2013
2121
223
2314
2432
2551
2634
279
287
295
3010
3143
3263
3329
343
3545
364
3740
3821
3927
4052
412
92.15% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences107
matches
0"was known"
1"were covered"
2"were lined"
3"were littered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs189
matches
0"was standing"
94.43% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences118
ratio0.017
matches
0"Silas paused his polishing, his expression finally betraying a flicker of something – annoyance, perhaps, or caution."
1"Before I could even take three steps, the hooded figure shoved something into Herrera's hands - a small, intricately carved box, no bigger than my palm."
68.82% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount119
adjectiveStacks0
stackExamples(empty)
adverbCount9
adverbRatio0.07563025210084033
lyAdverbCount2
lyAdverbRatio0.01680672268907563
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences118
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences118
mean11.04
std6.72
cv0.608
sampleLengths
06
120
220
36
431
52
612
77
815
95
1012
1111
126
133
1415
1513
1617
1711
1813
199
2016
2111
226
235
2413
2511
262
272
2813
2918
3015
316
3211
3335
3417
355
368
3722
387
3915
4010
418
424
433
443
4523
4620
4712
4821
4922
51.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.3644067796610169
totalSentences118
uniqueOpeners43
33.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences101
matches
0"Just panicked momentum."
ratio0.01
77.43% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences101
matches
0"He moved like a phantom,"
1"I hadn't expected him to"
2"I barked, the sound lost"
3"My breath hitched, burning in"
4"He glanced back, a flicker"
5"He veered sharply left, disappearing"
6"I pushed after him, shoving"
7"He didn’t fumble for a"
8"He didn’t bother with subtlety."
9"He simply slammed his shoulder"
10"It popped open with a"
11"I slowed, my hand instinctively"
12"He tolerated a certain level"
13"I’d questioned Silas more than"
14"He had always been predictably"
15"I took a deep breath,"
16"I pushed open the door,"
17"He didn’t look surprised to"
18"He rarely did."
19"His face, a roadmap of"
ratio0.356
44.16% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences101
matches
0"The slick cobbles offered no"
1"Each stride felt like skating"
2"He moved like a phantom,"
3"I hadn't expected him to"
4"Tomás Herrera, the discreet paramedic,"
5"I barked, the sound lost"
6"My breath hitched, burning in"
7"Morris would have been laughing."
8"Morris, who could outrun a"
9"He glanced back, a flicker"
10"He veered sharply left, disappearing"
11"The smell of lamb and"
12"I pushed after him, shoving"
13"The alley dwindled, the brick"
14"Graffiti crawled across the surfaces,"
15"A refuse bin overflowed, attracting"
16"Herrera had reached the end,"
17"A single, battered green neon"
18"He didn’t fumble for a"
19"He didn’t bother with subtlety."
ratio0.832
99.01% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences101
matches
0"Before I could even take"
1"Just as Herrera turned to"
ratio0.02
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount1
matches
0"A subterranean black market, accessible only with a bone token, that moved locations with every full moon."
13.89% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount2
matches
0"he greeted, his voice a gravelly rasp"
1"I stated, my voice low and controlled"
44.74% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"I barked (bark)"
1"I stated (state)"
dialogueSentences19
tagDensity0.211
leniency0.421
rawRatio0.5
effectiveRatio0.211
84.9711%