Run: 2026-02-25-01KJ94ZA9J8PTHGNPT3KMXY6F3

Run Details

Duration:
34.7s
Cost:
$0.003834
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 rain sluiced down Fleet Street, each drop a cold, percussive kiss against Harlow Quinn’s cheek as she pounded the slick, glistening pavement. Ahead, the silhouette of her quarry, thrown into sharp relief by the lurid, pulsating green neon of a 24/7 kebab shop sign, twisted sharply into a narrow alleyway. It was precisely the kind of grimy, forgotten urban canyon that swallowed the unwary, a place where the city’s underbelly breathed its foulest, most putrid air. Harlow’s boots, steel-toed and built for relentless pursuit, hammered a frantic, syncopated rhythm against the near-black tarmac. The worn leather strap of her watch, still ticking faithfully on her left wrist, was a familiar, grounding presence in the chaos. Eighteen years on the force, and this chase felt like a primal echo of the very first: desperation against duty, evasion against unwavering pursuit. The figure, lean and unnervingly agile, scrambled over a precariously stacked heap of overflowing refuse sacks. A sickening *thud* echoed from the depths of the alley as something heavy, perhaps a dislodged piece of masonry, dislodged itself and fell with a clatter. Harlow didn’t slow. Her military-honed bearing kept her stride precise, economical, a predator’s singular focus. The already heavy air in the confined space grew even more so, thick with the reek of stagnant water, stale urine, and something else… something metallic and profoundly foul, like old, dried blood mixed with spoiled meat. This was no ordinary fleeing suspect. There was a wildness in their evasive movements, a desperate, almost supernatural energy that prickled at Harlow’s deepest instincts. These were instincts honed over years, sharpened irrevocably by the unsolved disappearance of her partner, DS Morris, three years prior. The circumstances had been deeply disturbing. Unexplained. Downright supernatural. A word that still tasted like bitter ash in her mouth, a constant reminder of the case that broke her world. The alley spat the suspect out abruptly onto a wider, equally uninviting street, where discarded delivery vans sagged like tired, rusted beasts under the downpour. They crossed the rain-slicked tarmac with a sudden burst of speed, heading not for an illuminated doorway or any known building exit, but for a cluster of heavy, cast-iron grates set flush into the ground, partially obscured by a dense tangle of persistent urban weeds. The suspect launched themselves towards one of them, kicking it open with a surge of brute force. It shrieked on its corrupted, rusted hinges, revealing a black, impossibly deep chasm below. A palpable wave of fetid air, far colder than the rain outside, far richer with the scent of damp earth, decay, and something acridly chemical, billowed up. Without a single backwards glance, the suspect simply dropped into the yawning blackness. Harlow slammed on her brakes, the sharp screech of her soles a desperate protest against the wet concrete. She skidded to a violent halt, mere inches from the precipice. The opening was roughly rectangular, large enough for a fully grown man to descend with relative ease, framed by rough, slime-coated brickwork that seemed to actively absorb the scant, failing light. This was no ordinary sewer access, no forgotten maintenance tunnel. The smell… it snagged on her senses, reminding her too vividly of the hushed, unsettling descriptions of the Veil Market. The spectral, clandestine bazaar rumored to exist in abandoned subterranean spaces, trading in forbidden knowledge, dangerous enchantments, and things best left untouched. A place that shifted, they said, a phantom location that only appeared when *it* willed proximity, often coinciding with the phases of the moon. But this grate, this dark hole punched into the city's crust, felt unnervingly rooted. Permanent. She knelt quickly, drawing her service pistol. The cold, familiar weight of the steel was a small, inadequate bulwark against the encroaching, primal dread. The suspect, her quarry, had gone down. Into the deep. This wasn’t just about apprehension anymore. This had become about understanding. About the clique. Her suspicions had been circling them for months, their secretive meetings, their unnatural influence, the hushed whispers of illicit trade passing hand-to-hand. The Veil Market was precisely where that trade allegedly happened. The market that, according to whispered rumour, required a bone token for entry, that allegedly housed things from ‘other realms.’ Was this the gate? Her mind raced, a highly trained engine sifting through procedural manuals and fragmented intelligence reports. Following a suspect into an unknown, potentially dangerous, possibly non-Euclidean underground environment without backup was textbook recklessness. It was the exact sort of impulsive move that got detectives killed, the sort of rash action that had cost DS Morris everything. But hesitating here, letting this lead vanish into the earth’s dark embrace, felt like an unforgivable betrayal of Morris’s ghost, a concession to the encroaching darkness she was sworn to fight. The air from the opening pulsed, a low, resonant thrumming sensation vibrating through the soles of her boots, up her legs, into her very bones. It wasn’t just a smell anymore; it was an oppressive, pervasive presence, a tangible invitation to step out of the cold, rational light and into the abyss. Images flickered behind her eyes: DS Morris’s last, garbled radio transmission, her partner’s voice breaking over the static; the unnerving, almost serene calm of the clique's shadowy leader during their last tense interrogation; the unnerving, too-wide smile of a known fence at a previous raid, offering her an ‘enchanted’ amulet that had hummed with dark power. This suspect was a vital thread. And it led directly to the heart of the rot, the source of the city's hidden corruption. She had to pull it. Service weapon held steady, she checked the magazine, a practiced, almost mindless motion, the metallic click a sharp punctuation mark in the oppressive silence. The rain continued its relentless assault, blurring the edges of the cavernous opening, turning the grimy bricks into shimmering, uncertain shapes. The question wasn't *if* she should go. It was *how*. And, more importantly, what waited for her at the bottom of that dark, echoing descent. As a chill, far deeper than the biting rain, snaked up her spine and settled in her gut, Harlow Quinn edged closer to the gaping maw, listening to the faint, distorted murmur of movement from far, far below. The sound drew her in.
created_at"2026-02-25T01:00:20.158Z" 2/25/2026, 1:00:20 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1085
moderation_latency(null)
generation_time34615
tokens_prompt4663
tokens_completion7881
native_tokens_prompt4507
native_tokens_completion8458
native_tokens_completion_images0
native_tokens_reasoning7107
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"
usage0.0038339
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1082
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981220-dXHQy40yB5yzX9ZNUBy1"
upstream_id(null)
total_cost0.0038339
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences0
tagDensity1
leniency1
rawRatio0
effectiveRatio0
71.15% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1040
totalAiIsmAdverbs6
found
0
adverb"sharply"
count1
1
adverb"precisely"
count2
2
adverb"very"
count2
3
adverb"quickly"
count1
highlights
0"sharply"
1"precisely"
2"very"
3"quickly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1040
totalAiIsms25
found
0
word"glistening"
count1
1
word"familiar"
count2
2
word"echo"
count1
3
word"unwavering"
count1
4
word"echoed"
count1
5
word"depths"
count1
6
word"predator"
count1
7
word"reminder"
count1
8
word"palpable"
count1
9
word"spectral"
count1
10
word"clandestine"
count1
11
word"weight"
count1
12
word"apprehension"
count1
13
word"raced"
count1
14
word"fragmented"
count1
15
word"pulsed"
count1
16
word"oppressive"
count2
17
word"tangible"
count1
18
word"flickered"
count1
19
word"silence"
count1
20
word"echoing"
count1
21
word"chill"
count1
22
word"maw"
count1
highlights
0"glistening"
1"familiar"
2"echo"
3"unwavering"
4"echoed"
5"depths"
6"predator"
7"reminder"
8"palpable"
9"spectral"
10"clandestine"
11"weight"
12"apprehension"
13"raced"
14"fragmented"
15"pulsed"
16"oppressive"
17"tangible"
18"flickered"
19"silence"
20"echoing"
21"chill"
22"maw"
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
narrationSentences62
matches(empty)
96.77% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences62
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)
analyzedSentences62
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen57
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords4
totalWords1040
ratio0.004
matches
0"thud"
1"it"
2"if"
3"how"
62.50% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions1
matches
0"A place that shifted, they said, a phantom location that only appeared when *it* willed proximity, often coinciding with…"
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions18
wordCount1026
uniqueNames7
maxNameDensity0.58
worstName"Harlow"
maxWindowNameDensity1.5
worstWindowName"Harlow"
discoveredNames
Fleet1
Street1
Harlow6
Quinn2
Morris4
Veil2
Market2
persons
0"Harlow"
1"Quinn"
2"Morris"
places
0"Fleet"
1"Street"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences51
glossingSentenceCount4
matches
0"felt like a primal echo of the very fir"
1"tasted like bitter ash in her mouth, a co"
2"brickwork that seemed to actively absorb the scant, failing light"
3"felt like an unforgivable betrayal of M"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.962
wordCount1040
matches
0"not for an illuminated doorway or any known building exit, but for a cluster of heavy, cast-iron grates set flush into the"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences62
matches(empty)
26.85% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs7
mean148.57
std36.25
cv0.244
sampleLengths
0140
1169
2141
3151
4104
5222
6113
99.60% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences62
matches
0"was sworn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs154
matches(empty)
50.69% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount3
flaggedSentences2
totalSentences62
ratio0.032
matches
0"It wasn’t just a smell anymore; it was an oppressive, pervasive presence, a tangible invitation to step out of the cold, rational light and into the abyss."
1"Images flickered behind her eyes: DS Morris’s last, garbled radio transmission, her partner’s voice breaking over the static; the unnerving, almost serene calm of the clique's shadowy leader during their last tense interrogation; the unnerving, too-wide smile of a known fence at a previous raid, offering her an ‘enchanted’ amulet that had hummed with dark power."
61.74% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount707
adjectiveStacks1
stackExamples
0"rough, slime-coated brickwork"
adverbCount44
adverbRatio0.06223479490806223
lyAdverbCount25
lyAdverbRatio0.03536067892503536
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences62
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences62
mean16.77
std10.9
cv0.65
sampleLengths
023
128
226
317
422
524
616
726
83
912
1024
1113
126
1319
1420
156
161
172
1821
1925
2045
2117
2214
2327
2413
2518
2611
2731
2810
292
3018
3122
3224
3314
341
357
3617
377
383
396
405
413
4222
4310
4424
4515
4617
4723
4831
4925
60.75% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.4032258064516129
totalSentences62
uniqueOpeners25
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences58
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount13
totalSentences58
matches
0"It was precisely the kind"
1"Her military-honed bearing kept her"
2"They crossed the rain-slicked tarmac"
3"It shrieked on its corrupted,"
4"She skidded to a violent"
5"it snagged on her senses,"
6"She knelt quickly, drawing her"
7"Her suspicions had been circling"
8"Her mind raced, a highly"
9"It was the exact sort"
10"It wasn’t just a smell"
11"She had to pull it."
12"It was *how*."
ratio0.224
63.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount46
totalSentences58
matches
0"The rain sluiced down Fleet"
1"It was precisely the kind"
2"Harlow’s boots, steel-toed and built"
3"The worn leather strap of"
4"The figure, lean and unnervingly"
5"A sickening *thud* echoed from"
6"Harlow didn’t slow."
7"Her military-honed bearing kept her"
8"The already heavy air in"
9"something metallic and profoundly foul,"
10"This was no ordinary fleeing"
11"These were instincts honed over"
12"The circumstances had been deeply"
13"A word that still tasted"
14"The alley spat the suspect"
15"They crossed the rain-slicked tarmac"
16"The suspect launched themselves towards"
17"It shrieked on its corrupted,"
18"A palpable wave of fetid"
19"Harlow slammed on her brakes,"
ratio0.793
86.21% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences58
matches
0"And, more importantly, what waited"
ratio0.017
74.83% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount4
matches
0"It was precisely the kind of grimy, forgotten urban canyon that swallowed the unwary, a place where the city’s underbelly breathed its foulest, most putrid air."
1"There was a wildness in their evasive movements, a desperate, almost supernatural energy that prickled at Harlow’s deepest instincts."
2"The opening was roughly rectangular, large enough for a fully grown man to descend with relative ease, framed by rough, slime-coated brickwork that seemed to ac…"
3"It was the exact sort of impulsive move that got detectives killed, the sort of rash action that had cost DS Morris everything."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
78.4852%