Run: 2026-02-20-01KHYB143GCV687MV1JB2PF6M7

Run Details

Model:
Grok 4
Duration:
1m 21s
Cost:
$0.048630
Provider:
xAI

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
Quinn's boots slapped against the slick pavement as she rounded the corner, her quarry's shadow stretching long under the stuttering streetlamp. He bolted left, weaving through a cluster of overflowing bins that spilled their rot onto the kerb. She didn't shout; words wasted breath in a chase like this. Instead, she pumped her arms harder, sharp jaw set, her worn leather watch ticking against her wrist like a metronome counting down to collision. The suspect, a wiry figure in a hooded jacket, glanced back once. His face caught the light—pale, scarred cheek, eyes wide with the panic of a man who knew exactly what pursued him. Quinn recognised him from the grainy CCTV stills: Elias Crowe, small-time fence for enchanted trinkets, suspected in the disappearance of that cursed amulet from the museum heist. She'd tailed him from The Raven's Nest, where he'd slipped out the back after a hushed exchange with the barman. Now, he darted into an alley off Shaftesbury Avenue, forcing her to dodge a puddle that mirrored the neon blur of Soho's signs. Rain pelted her face, cold and insistent, soaking through her coat. She ignored it, focused on the gap closing between them. Elias vaulted a low fence into a service yard behind a theatre, where stage doors yawned open and discarded props littered the ground—broken masks and tangled ropes that snagged at her ankles. She cleared them in one stride, military precision in her bearing keeping her steady. Elias slammed into a metal gate at the yard's end, rattling it furiously before squeezing through a gap. Quinn followed, the chain-link biting into her palms as she hauled herself over. They emerged onto a busier stretch of Charing Cross Road, where late-night revellers scattered like pigeons. A cab honked, brakes screeching as Elias cut across its path. Quinn sprinted after, her breath steady despite the burn in her lungs. She'd trained for this—eighteen years on the force, half of them chasing shadows that didn't belong in police reports. Like the ones that took DS Morris three years ago, whispers of something unnatural she'd buried in paperwork but never forgotten. Elias veered north towards Tottenham Court Road, his hood slipping back to reveal matted hair plastered by the downpour. The streets here narrowed, flanked by shuttered shops and the occasional glow of a late-night kebab stand. Steam rose from grates, carrying the sharp tang of fried onions and exhaust. Quinn's mind raced ahead: he was heading for Camden, she realised, the warren of markets and hidden spots perfect for losing a tail. But why risk the open streets? Unless he had an exit she didn't know about. She closed in as they hit the edge of Camden High Street, the canal's dark water glinting to their left under bridge lights. Elias skidded on wet leaves, nearly going down, and she lunged, fingers brushing his jacket. He twisted away, shoving through a group of umbrellas that bloomed like black flowers in the rain. Curses followed them, but Quinn pressed on, her brown eyes locked on his retreating form. He ducked into a side street, past a row of graffiti-covered walls that depicted snarling beasts and occult symbols—tags from the underground scene she pretended didn't exist. The air grew thicker here, laced with the musty scent of damp brick and something metallic, like old coins. Elias reached a nondescript door set into the base of an overpass, fumbling in his pocket. He produced a small, pale object—a bone token, Quinn noted with a flash of recognition from her files on black market dealings. He pressed it against the door, which creaked open on hidden hinges. The Veil Market. She'd heard rumours, pieced together from informants who spoke in riddles: a supernatural bazaar that shifted with the moon, peddling forbidden wares in forgotten corners of the Tube network. Beneath Camden this cycle, if her intel held. Elias vanished inside, the door swinging shut behind him. Quinn skidded to a halt, rain dripping from her salt-and-pepper hair. Her hand went to her radio instinctively, but she hesitated. Calling for backup meant explaining this—a door that shouldn't exist, leading to a place that defied logic. And if the clique was involved, as she suspected, they'd scatter like rats before uniforms arrived. She thought of Morris, his body found twisted in ways no human could manage, the case closed as "accidental" despite the evidence screaming otherwise. This could be her lead, the thread to unravel it all. The door mocked her, seamless now against the wall, but she knew better. She pressed her palm to the spot where Elias had placed the token. Nothing. No give, no seam. Frustration knotted in her gut. She scanned the alley: a discarded crate nearby, splintered wood scattered. Among the debris, something caught her eye—a fragment of bone, etched with a faint rune. Not a proper token, but perhaps close enough. She snatched it up, the surface cool and smooth against her skin, and jammed it against the door. A low rumble echoed from within, like stones grinding together. The door parted, revealing a steep staircase descending into flickering torchlight. Damp air rushed up, carrying scents of incense, herbs, and something acrid, like burning sage mixed with blood. Voices drifted from below, a murmur of haggling in languages she half-recognised—Latin phrases twisted with modern slang. Quinn drew her service weapon, a compact Glock that felt reassuring in her grip. Unfamiliar territory, potentially dangerous—hell, definitely dangerous. But backing off now meant losing Elias, and with him, any shot at answers. She stepped through, the door sealing behind her with a finality that echoed in her bones. The stairs spiralled down, walls rough-hewn from what looked like old tunnel brick, veined with glowing fungi that pulsed faintly blue. Her boots echoed on the steps, each one taking her deeper into the abandoned Tube station. At the bottom, the space opened into a cavernous platform, tracks long removed, now crowded with stalls draped in velvet and lit by floating orbs that bobbed like fireflies. Vendors hawked their goods: vials of shimmering liquid that promised eternal youth, talismans carved from what might have been dragon bone, grimoires bound in suspiciously supple leather. Masked figures milled about, their faces hidden behind elaborate disguises—beaked plague doctor masks, feathered venetian veils. The air hummed with energy, a prickling on her skin that set her teeth on edge. She spotted Elias weaving through the crowd, heading for a stall at the far end where a hunched figure traded in whispers. Quinn holstered her weapon—drawing it here would spark chaos—but kept her hand near her hip. She moved forward, blending as best she could, her sharp jaw and military stride marking her as an outsider. A vendor thrust a tray of enchanted rings at her, rings that whispered promises of power in her ear. She waved him off, eyes fixed on Elias. He reached the stall, leaning in to speak with the merchant, a woman with eyes like polished obsidian. Words exchanged, too low to hear, and Elias passed something small—a pouch, perhaps. The merchant nodded, gesturing to a curtained alcove behind her. Quinn quickened her pace, dodging a cluster of buyers arguing over a cursed mirror that reflected futures better left unseen. The market's energy pressed in, the orbs casting erratic shadows that danced like living things. She caught snippets of conversation: "The clique's moving on the full moon," one vendor muttered. "Heard they've got a new healer—Spanish lad, lost his license patching up werewolves." Tomás Herrera. The name clicked from her files—former paramedic, off-the-books medic for the supernatural underbelly. If he was here... Elias slipped behind the curtain. Quinn reached the stall, the merchant turning to her with a sly smile. "Lost, detective?" The woman's voice slithered like smoke, her obsidian eyes narrowing. Quinn froze. Busted already? She kept her expression neutral, hand inching towards her Glock. "Just browsing." The merchant laughed, a sound like cracking glass. "Mortals always think they blend in. That bone shard you used? Stolen from a lesser stall. Amateur." Around them, heads turned, masks tilting with interest. Whispers spread, the crowd parting slightly as if sensing the brewing storm. Elias emerged from the alcove, now flanked by two burly figures—guards, perhaps, with eyes that glowed faintly green. He spotted her, panic flashing anew. "Quinn," he snarled, voice carrying over the murmurs. "You shouldn't have followed." The merchant raised a hand, and the floating orbs dimmed, plunging sections of the market into shadow. Quinn's heart hammered—decision time. Stand her ground or bolt? But retreating meant abandoning the chase, and answers slipped away like Elias had. One of the guards lunged, faster than human, claws extending from fingertips. Quinn dodged, drawing her weapon in a fluid motion. The shot echoed through the station, splintering a nearby stall. Chaos erupted—screams, scattering patrons, enchanted goods spilling like forbidden fruit. Elias bolted again, deeper into the market's tunnels, the guards closing in on her. She fired once more, clipping one's shoulder, but the other tackled her to the ground, the bone token crunching under their weight. Pain exploded in her side as claws raked her coat. This was it—the fan spinning, shit flying. Herrera's name echoed in her mind as she fought back, realising too late she'd walked into a nest far deadlier than she imagined.
created_at"2026-02-20T20:14:32.087Z" 2/20/2026, 8:14:32 PM
model"x-ai/grok-4-07-09" 4/7/2009, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency11085
moderation_latency(null)
generation_time80576
tokens_prompt4663
tokens_completion2454
native_tokens_prompt4730
native_tokens_completion2398
native_tokens_completion_images0
native_tokens_reasoning409
native_tokens_cached680
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"completed"
usage0.04863
router(null)
provider_responses
0
endpoint_id"d40bef9d-6936-4c57-9749-bf7399de4a77"
id"d1532b83-31ec-49cf-5f88-b9f7bb465364"
is_byokfalse
latency107
model_permaslug"x-ai/grok-4-07-09" 4/7/2009, 12:00:00 AM
provider_name"xAI"
status200
api_type"completions"
id"gen-1771618472-mZyKXakB0B2KZfdrXtLQ"
upstream_id"d1532b83-31ec-49cf-5f88-b9f7bb465364"
total_cost0.04863
cache_discount0.00153
upstream_inference_cost0
provider_name"xAI"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount1
adverbTags
0"The woman's voice slithered like [like]"
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0.25
effectiveRatio0.25
96.84% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1582
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
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)
52.59% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1582
totalAiIsms15
found
0
word"raced"
count1
1
word"perfect"
count1
2
word"glinting"
count1
3
word"unravel"
count1
4
word"scanned"
count1
5
word"etched"
count1
6
word"echoed"
count5
7
word"pulsed"
count1
8
word"velvet"
count1
9
word"quickened"
count1
10
word"weight"
count1
highlights
0"raced"
1"perfect"
2"glinting"
3"unravel"
4"scanned"
5"etched"
6"echoed"
7"pulsed"
8"velvet"
9"quickened"
10"weight"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"flicker of emotion"
count1
highlights
0"a flash of recognition"
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
filterCount1
hedgeCount0
narrationSentences107
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences111
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1552
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
93.52% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions59
wordCount1505
uniqueNames22
maxNameDensity1.13
worstName"Elias"
maxWindowNameDensity2
worstWindowName"Elias"
discoveredNames
Elias17
Crowe1
Raven1
Nest1
Shaftesbury1
Avenue1
Soho1
Charing1
Cross1
Road2
Morris2
Tottenham1
Court1
Camden3
High1
Street1
Quinn15
Veil1
Market1
Tube2
Glock2
Herrera2
persons
0"Elias"
1"Crowe"
2"Morris"
3"Quinn"
4"Herrera"
places
0"Raven"
1"Nest"
2"Shaftesbury"
3"Avenue"
4"Soho"
5"Charing"
6"Cross"
7"Road"
8"Tottenham"
9"Court"
10"Camden"
11"High"
12"Street"
13"Market"
globalScore0.935
windowScore1
97.92% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount2
matches
0"looked like old tunnel brick, veined with"
1"as if sensing the brewing storm"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.644
wordCount1552
matches
0"Not a proper token, but perhaps close enough"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences111
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs29
mean53.52
std28.82
cv0.539
sampleLengths
073
1103
298
379
487
570
696
749
889
988
1056
1150
1293
1354
1461
1541
1663
1719
1818
1912
2016
2125
2220
2324
2412
2539
2641
2746
2830
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences107
matches
0"was involved"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs293
matches
0"was heading"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount17
semicolonCount1
flaggedSentences17
totalSentences111
ratio0.153
matches
0"She didn't shout; words wasted breath in a chase like this."
1"His face caught the light—pale, scarred cheek, eyes wide with the panic of a man who knew exactly what pursued him."
2"Elias vaulted a low fence into a service yard behind a theatre, where stage doors yawned open and discarded props littered the ground—broken masks and tangled ropes that snagged at her ankles."
3"She'd trained for this—eighteen years on the force, half of them chasing shadows that didn't belong in police reports."
4"He ducked into a side street, past a row of graffiti-covered walls that depicted snarling beasts and occult symbols—tags from the underground scene she pretended didn't exist."
5"He produced a small, pale object—a bone token, Quinn noted with a flash of recognition from her files on black market dealings."
6"Calling for backup meant explaining this—a door that shouldn't exist, leading to a place that defied logic."
7"Among the debris, something caught her eye—a fragment of bone, etched with a faint rune."
8"Unfamiliar territory, potentially dangerous—hell, definitely dangerous."
9"Masked figures milled about, their faces hidden behind elaborate disguises—beaked plague doctor masks, feathered venetian veils."
10"Quinn holstered her weapon—drawing it here would spark chaos—but kept her hand near her hip."
11"Words exchanged, too low to hear, and Elias passed something small—a pouch, perhaps."
12"The name clicked from her files—former paramedic, off-the-books medic for the supernatural underbelly."
13"Elias emerged from the alcove, now flanked by two burly figures—guards, perhaps, with eyes that glowed faintly green."
14"Quinn's heart hammered—decision time."
15"Chaos erupted—screams, scattering patrons, enchanted goods spilling like forbidden fruit."
16"This was it—the fan spinning, shit flying."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1534
adjectiveStacks0
stackExamples(empty)
adverbCount37
adverbRatio0.024119947848761408
lyAdverbCount13
lyAdverbRatio0.00847457627118644
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences111
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences111
mean13.98
std6.6
cv0.472
sampleLengths
021
117
211
324
412
521
627
720
823
911
1010
1132
1214
1318
1413
1516
1611
1712
1819
1921
2019
2117
2213
2323
246
259
2623
2715
2817
2915
3027
3119
3216
3322
3412
353
3629
378
389
3911
4010
4117
4216
4324
4411
4513
4613
471
484
495
71.17% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats1
diversityRatio0.43243243243243246
totalSentences111
uniqueOpeners48
32.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences103
matches
0"Instead, she pumped her arms"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences103
matches
0"He bolted left, weaving through"
1"She didn't shout; words wasted"
2"His face caught the light—pale,"
3"She'd tailed him from The"
4"She ignored it, focused on"
5"She cleared them in one"
6"They emerged onto a busier"
7"She'd trained for this—eighteen years"
8"She closed in as they"
9"He twisted away, shoving through"
10"He ducked into a side"
11"He produced a small, pale"
12"He pressed it against the"
13"She'd heard rumours, pieced together"
14"Her hand went to her"
15"She thought of Morris, his"
16"She pressed her palm to"
17"She scanned the alley: a"
18"She snatched it up, the"
19"She stepped through, the door"
ratio0.291
66.80% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount81
totalSentences103
matches
0"Quinn's boots slapped against the"
1"He bolted left, weaving through"
2"She didn't shout; words wasted"
3"The suspect, a wiry figure"
4"His face caught the light—pale,"
5"Quinn recognised him from the"
6"She'd tailed him from The"
7"Rain pelted her face, cold"
8"She ignored it, focused on"
9"Elias vaulted a low fence"
10"She cleared them in one"
11"Elias slammed into a metal"
12"Quinn followed, the chain-link biting"
13"They emerged onto a busier"
14"A cab honked, brakes screeching"
15"Quinn sprinted after, her breath"
16"She'd trained for this—eighteen years"
17"Elias veered north towards Tottenham"
18"The streets here narrowed, flanked"
19"Steam rose from grates, carrying"
ratio0.786
97.09% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences103
matches
0"Now, he darted into an"
1"If he was here..."
ratio0.019
26.79% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences80
technicalSentenceCount13
matches
0"Now, he darted into an alley off Shaftesbury Avenue, forcing her to dodge a puddle that mirrored the neon blur of Soho's signs."
1"Elias vaulted a low fence into a service yard behind a theatre, where stage doors yawned open and discarded props littered the ground—broken masks and tangled r…"
2"Elias slammed into a metal gate at the yard's end, rattling it furiously before squeezing through a gap."
3"Like the ones that took DS Morris three years ago, whispers of something unnatural she'd buried in paperwork but never forgotten."
4"He ducked into a side street, past a row of graffiti-covered walls that depicted snarling beasts and occult symbols—tags from the underground scene she pretende…"
5"She'd heard rumours, pieced together from informants who spoke in riddles: a supernatural bazaar that shifted with the moon, peddling forbidden wares in forgott…"
6"Calling for backup meant explaining this—a door that shouldn't exist, leading to a place that defied logic."
7"Quinn drew her service weapon, a compact Glock that felt reassuring in her grip."
8"At the bottom, the space opened into a cavernous platform, tracks long removed, now crowded with stalls draped in velvet and lit by floating orbs that bobbed li…"
9"Vendors hawked their goods: vials of shimmering liquid that promised eternal youth, talismans carved from what might have been dragon bone, grimoires bound in s…"
10"The air hummed with energy, a prickling on her skin that set her teeth on edge."
11"A vendor thrust a tray of enchanted rings at her, rings that whispered promises of power in her ear."
12"Quinn quickened her pace, dodging a cluster of buyers arguing over a cursed mirror that reflected futures better left unseen."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount2
matches
0"The woman's voice slithered like, her obsidian eyes narrowing"
1"he snarled, voice carrying over the murmurs"
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"he snarled (snarl)"
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio1
effectiveRatio0.25
78.6691%