Run: 2026-02-25-01KJ94XC55X2MWAGKCJJ84SDGT

Run Details

Duration:
22.7s
Cost:
$0.002473
Provider:
Google AI Studio

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 figure ahead darted between overflowing bins, a blur against the slick, obsidian gleam of the rain-slicked tarmac. Detective Harlow Quinn’s lungs burned, each ragged intake a sharp stab against her ribs. Her combat boots, usually so sure-footed, skidded on a treacherous patch of oil-slicked cobblestone. The worn leather strap of her watch dug into her left wrist, a familiar anchor in the chaos. Eighteen years on the Met, and this was how it sometimes ended – a thankless chase through Soho’s grimy arteries, a shadow melting into brick and shadow. The suspect, slight and wiry, moved with unnatural speed, a low centre of gravity that let him weave through the narrow alleyways like water. Harlow’s military-honed instincts screamed at her to maintain pursuit, but the labyrinthine streets were already swallowing her quarry. Neon signs bled garish colours across the wet pavement – a violent fuchsia from a late-night club, sickly green from a betting shop. The air hung thick with the combined scent of damp concrete, stale beer, and something kelp-like, something organic and unpleasant. He vaulted a low security fence with contemptuous ease, landing silently in a back lot choked with discarded crates and forgotten deliveries. Harlow grabbed the top, hauling herself over, her knuckles scraping raw against the rusted metal. The sounds of the chase were muffled here, absorbed by the sheer density of refuse. Only the relentless drumming of rain on corrugated iron roofs punctuated the chase. Then, a new element. Not just a vanishing act into another dark alley, but a deliberate descent. The suspect scrambled down a steep, crumbling flight of stone steps, half-hidden behind a mountain of black refuse sacks that sagged like exhausted giants. A rusted grate, wide enough to accommodate a man but not much else, lay tossed aside at the bottom. It looked like a forgotten drain, a municipal oversight now serving some other purpose. Harlow slid down the slick steps, the cold rain plastering her short, salt-and-pepper hair to her scalp. She reached the bottom, boots landing with a squelch in ankle-deep, stagnant water. The air here was different, colder, carrying a metallic tang that tickled the back of her throat, much like the coppery scent that always preceded trouble. She could hear the suspect fumbling with something near the grate, a metallic scrape and a faint click. Then, silence. The sound of his footsteps vanished faster than any man could simply run. She edged forward, her hand instinctively going for the holster at her hip, though she knew shooting a ghost would be pointless. The opening was a black maw. The steps descended further into utter darkness, the stone walls slick with a greasy film. It wasn't just an old drain; it felt older, cut deeper than mere sewage. This was a throat, swallowing the night. A faint hum vibrated through the soles of her boots, a deep, resonant thrumming that felt more geological than mechanical. It was accompanied by a subtle shift in the air’s pressure, pushing against her eardrums. He was gone. Into what? A service tunnel? A forgotten branch of the Underground? The suspect worked on the fringe, dealing in hushed whispers and illegitimacy, but this felt like a step beyond mere street-level criminality. This felt like stepping off the known map altogether. She knelt, peering into the blackness. The suspect’s footsteps had ceased, but a faint, almost imperceptible whisper seemed to drift up. It wasn't English, or any language she recognised. It was a breathy, sibilant sound, like dry leaves skittering across an old tomb. She shivered, a reaction entirely unrelated to the cold. Three years. Three years since DS Morris had stepped into the dark, and never come back. This place, this feeling… it prickled at the edges of that old, raw wound. Her mind, trained for logic and evidence, fought against the irrational. It was a suspect, fleeing. There would be procedures, back-up. But back-up wouldn't get here before he vanished beyond recovery, and 'procedures' hadn't helped Morris. Her gaze flicked to the rough, chalk-like markings scrawled on the wall beside the opening. They weren't graffiti; they looked like symbols, crudely drawn, evoking a feeling of unease rather than simple vandalism. One resembled a coiled serpent, another a jagged, broken star. These weren't the markings of petty thieves; they spoke of a different purpose, a different clientele. The Veil Market. The whispers. The bone token entry. The description was vague, fragmented, gathered from informants who spoke in hushed tones of a place that moved, shifted, and dealt in all manner of forbidden things. An underground market beneath Camden, they said. But this entrance… it felt permanent, a wound in the city's fabric. Harlow touched the rough stone of the descending stairs. It was cold, unnaturally so, and seemed to absorb the faint light bleeding from the street above. She saw it then, glinting in the muck near the edge of the opening – a small, polished object, pale and porous. A bone. Not a shard, but a perfectly shaped, smooth piece of carved bone. It rested there as if placed deliberately, an invitation, or perhaps a key. A bone token. The suspect must have dropped it, or perhaps he was expected, given one. Her hand clenched into a fist. Arrest him. That was the objective. Bring him in. But the suspect was a mere pawn, a courier, perhaps. The real prize, the source of whatever Silas was involved in, lay deeper. The Raven’s Nest led her here, to this junction of the city's rot. Silas’s name had been uttered by a dying informant, his last breath a raspy promise of connection between the street grime and the occult. And this… this was the occult’s door. The hum grew louder, a physical presence now, resonating not just through the concrete but through her very bones. It plucked at something deep within her, a primal chord that sang of old powers and hidden places. Her training warred with a deep, instinctual revulsion. The supernatural had taken her partner. It had fractured her world. To walk into that darkness, to willingly embrace it, felt like a surrender. Yet, the suspect was already a speck of disappearing dust, and Silas was still out there, a ghost in the machine. She looked back, up the slick steps, towards the distant glow of streetlights. There was safety there, the predictable order of the familiar city. Safety, and the certainty of another dead end. Then she looked down, into the suffocating blackness that pulsed with that low, alien hum. Danger, the unknown, and the possibility – however slim, however terrifying – of answers. Her gaze settled on the bone token, its smooth surface catching the scant light. It was a challenge. A boundary. The choice pressed in, heavy as the subterranean air. Pursue the man, or pursue the truth? Her jaw tightened, the sharp lines of her face set in grim resolve. Morris never got to make this kind of choice. He just went forward, didn’t he? Or was it that he was *pushed*? A faint metallic clink echoed from the darkness below, followed by a muffled shout, or perhaps a laugh. It was enough. The city’s secrets guarded their entrances jealously, but Harlow Quinn had never been one to respect boundaries, especially when answers lay on the other side. She took a deep, measured breath through her nose, tasting the damp, metallic, alien air. Then, she stepped onto the first descending stone.
created_at"2026-02-25T00:59:16.528Z" 2/25/2026, 12:59:16 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1292
moderation_latency(null)
generation_time22658
tokens_prompt4663
tokens_completion3486
native_tokens_prompt4507
native_tokens_completion5055
native_tokens_completion_images0
native_tokens_reasoning3442
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"
usage0.0024727
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1292
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981156-Jf01pM8wqSQ5RqmVNKLt"
upstream_id(null)
total_cost0.0024727
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences0
tagDensity1
leniency1
rawRatio0
effectiveRatio0
87.89% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1239
totalAiIsmAdverbs3
found
0
adverb"perfectly"
count1
1
adverb"deliberately"
count1
2
adverb"very"
count1
highlights
0"perfectly"
1"deliberately"
2"very"
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)
19.29% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1239
totalAiIsms20
found
0
word"treacherous"
count1
1
word"familiar"
count2
2
word"silence"
count1
3
word"footsteps"
count2
4
word"maw"
count1
5
word"vibrated"
count1
6
word"mechanical"
count1
7
word"whisper"
count1
8
word"flicked"
count1
9
word"fragmented"
count1
10
word"glinting"
count1
11
word"pawn"
count1
12
word"fractured"
count1
13
word"predictable"
count1
14
word"pulsed"
count1
15
word"resolve"
count1
16
word"echoed"
count1
17
word"measured"
count1
highlights
0"treacherous"
1"familiar"
2"silence"
3"footsteps"
4"maw"
5"vibrated"
6"mechanical"
7"whisper"
8"flicked"
9"fragmented"
10"glinting"
11"pawn"
12"fractured"
13"predictable"
14"pulsed"
15"resolve"
16"echoed"
17"measured"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences105
matches
0"a feeling of unease"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences105
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences105
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen27
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1244
ratio0.001
matches
0"pushed"
41.67% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions1
matches
0"An underground market beneath Camden, they said."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1240
uniqueNames13
maxNameDensity0.48
worstName"Harlow"
maxWindowNameDensity1.5
worstWindowName"Harlow"
discoveredNames
Harlow6
Quinn2
Met1
Soho1
Underground1
English1
Morris2
Veil1
Market1
Camden1
Silas3
Raven1
Nest1
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Silas"
4"Raven"
5"Nest"
places
0"Soho"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount5
matches
0"looked like a forgotten drain, a municipa"
1"felt like a step beyond mere street-lev"
2"felt like stepping off the known map al"
3"looked like symbols, crudely drawn, evoki"
4"felt like a surrender"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords2.412
wordCount1244
matches
0"Not just a vanishing act into another dark alley, but a deliberate descent"
1"Not a shard, but a perfectly shaped, smooth piece of carved bone"
2"not just through the concrete but through her very bones"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences105
matches(empty)
4.92% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs16
mean77.75
std13
cv0.167
sampleLengths
091
185
265
374
489
564
680
782
895
955
1091
1182
1290
1381
1451
1569
85.21% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences105
matches
0"were muffled"
1"was accompanied"
2"was gone"
3"was involved"
4"been uttered"
5"was *pushed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs185
matches
0"were already swallowing"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount3
flaggedSentences7
totalSentences105
ratio0.067
matches
0"Eighteen years on the Met, and this was how it sometimes ended – a thankless chase through Soho’s grimy arteries, a shadow melting into brick and shadow."
1"Neon signs bled garish colours across the wet pavement – a violent fuchsia from a late-night club, sickly green from a betting shop."
2"It wasn't just an old drain; it felt older, cut deeper than mere sewage."
3"They weren't graffiti; they looked like symbols, crudely drawn, evoking a feeling of unease rather than simple vandalism."
4"These weren't the markings of petty thieves; they spoke of a different purpose, a different clientele."
5"She saw it then, glinting in the muck near the edge of the opening – a small, polished object, pale and porous."
6"Danger, the unknown, and the possibility – however slim, however terrifying – of answers."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount673
adjectiveStacks1
stackExamples
0"ankle-deep, stagnant water."
adverbCount24
adverbRatio0.03566121842496285
lyAdverbCount7
lyAdverbRatio0.010401188707280832
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences105
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences105
mean11.85
std6.79
cv0.573
sampleLengths
018
114
214
318
427
524
618
723
820
922
1015
1115
1213
134
1413
1524
1619
1714
1817
1913
2026
2118
222
2313
2422
256
2615
2714
287
2920
3015
313
322
333
346
3522
369
376
3815
398
4014
419
422
4314
444
4510
4611
475
485
4915
46.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3238095238095238
totalSentences105
uniqueOpeners34
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences97
matches
0"Only the relentless drumming of"
1"Then, a new element."
2"Then she looked down, into"
3"Then, she stepped onto the"
ratio0.041
83.92% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences97
matches
0"Her combat boots, usually so"
1"He vaulted a low security"
2"It looked like a forgotten"
3"She reached the bottom, boots"
4"She could hear the suspect"
5"She edged forward, her hand"
6"It wasn't just an old"
7"It was accompanied by a"
8"He was gone."
9"She knelt, peering into the"
10"It wasn't English, or any"
11"It was a breathy, sibilant"
12"She shivered, a reaction entirely"
13"it prickled at the edges"
14"Her mind, trained for logic"
15"It was a suspect, fleeing."
16"Her gaze flicked to the"
17"They weren't graffiti; they looked"
18"it felt permanent, a wound"
19"It was cold, unnaturally so,"
ratio0.34
52.78% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount79
totalSentences97
matches
0"The figure ahead darted between"
1"Detective Harlow Quinn’s lungs burned,"
2"Her combat boots, usually so"
3"The worn leather strap of"
4"The suspect, slight and wiry,"
5"Harlow’s military-honed instincts screamed at"
6"Neon signs bled garish colours"
7"The air hung thick with"
8"He vaulted a low security"
9"Harlow grabbed the top, hauling"
10"The sounds of the chase"
11"The suspect scrambled down a"
12"A rusted grate, wide enough"
13"It looked like a forgotten"
14"Harlow slid down the slick"
15"She reached the bottom, boots"
16"The air here was different,"
17"She could hear the suspect"
18"The sound of his footsteps"
19"She edged forward, her hand"
ratio0.814
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences97
matches
0"To walk into that darkness,"
1"Yet, the suspect was already"
ratio0.021
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount6
matches
0"The suspect, slight and wiry, moved with unnatural speed, a low centre of gravity that let him weave through the narrow alleyways like water."
1"Harlow grabbed the top, hauling herself over, her knuckles scraping raw against the rusted metal."
2"The air here was different, colder, carrying a metallic tang that tickled the back of her throat, much like the coppery scent that always preceded trouble."
3"A faint hum vibrated through the soles of her boots, a deep, resonant thrumming that felt more geological than mechanical."
4"The description was vague, fragmented, gathered from informants who spoke in hushed tones of a place that moved, shifted, and dealt in all manner of forbidden t…"
5"It plucked at something deep within her, a primal chord that sang of old powers and hidden places."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
76.2489%