Run: 2026-02-25-01KJ9547A9S6R4FZ5DY6XWCGG6

Run Details

Duration:
16.7s
Cost:
$0.008799
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The stench hit Harlow first: a metallic, cloying sweetness that clung to the damp air. She ducked under the sagging yellow tape, the plastic scratching her closely cropped salt-and-pepper hair. Her worn leather watch read '03:17', but the time meant little out here in the abandoned printing press, two decades past its last run. Muted spotlights cast long, skeletal shadows of rusted machinery across the factory floor. "Morning, guv'nor." Davies, a younger constable whose uniform always seemed just a touch too large, wiped a bead of sweat from his brow. He stood beside a colossal printing press, its defunct rollers like giant, frozen teeth. "Or what's left of it." Harlow scanned the vast space. Dust motes danced in the artificial light, thick as fog. Cobwebs draped from girders, heavy with years of accumulated grime. Her gaze settled on the press. It was a dark, hulking beast, a relic of forgotten industry. "Victim's under the platen, sir." Davies pointed with a gloved hand. "Looks like some sort of industrial accident, only... not." Harlow stepped closer, her military precision dictating her careful movements between oily puddles and fallen tools. A lone figure lay pinned beneath the heavy, steel platen of the press. Blood had welled from beneath them, a dark, rich pool that spread across the concrete, almost too perfect a circle. Even from a distance, the lack of struggle surprised her. This wasn't some poor sod caught in machinery. "Any ID?" "Nothing on him. No wallet, no phone. Looks cleared out," Davies answered, pulling at the collar of his shirt. "Dr. Vance is running priors, but it's a mess. Face..." He trailed off, gesturing vaguely towards the obscured head. Harlow knelt beside the body, ignoring the chill seeping into her trousers. The victim was male, mid-twenties perhaps, clad in threadbare jeans and a faded band t-shirt. His arm, partially visible, ended in a hand splayed flat on the floor, palm up. His fingers were unnaturally long. Twisted. "No, he's not under the platen, Davies. He's *on* it." Harlow’s voice cut through the cavernous space. Davies blinked. "Right. Well, whatever. Same result. Been here a while, too. Rigor's set in." Harlow ignored him. She circled the scene slowly, her keen brown eyes taking in every detail. The blood: too much of it, almost ceremonial in its precise pooling. It wasn't splashed, not sprayed, but *poured*. And the press itself. "This thing's been out of commission for years," she observed, running a gloved finger along a layer of dust on the frame next to the platen. "Decades, by the looks of it. How'd it crush him?" "We think it was dropped on him. Some local kids probably messing around, broke the lock, then either triggered something or accidentally dropped it while climbing on it." Davies sounded confident, already building his narrative. "It wasn't found until a security guard on his rounds spotted the open door." "A security guard in an abandoned factory?" "Well, for *other* buildings on the estate, but he checks this one sometimes. Said he heard a noise." "And didn't investigate the noise last night?" Davies shrugged. "Probably thought it was foxes. Or just a weird draft." Harlow leaned in close to the platen. Not only was it covered in a thick layer of industrial dust, almost fur-like, but some of the blood beneath the body had seeped *into* the dust, rather than just sitting on top. And there, near the victim's head, where the pooling was thickest, a faint, almost imperceptible shimmer caught her eye. "Someone cleaned this place recently." She straightened, turning to Davies. "No way, guv. Look at the dust. Everywhere." Davies waved a hand around. "Not everywhere. Look at these specific sections of the floor. See how the dust is evenly spread, not disturbed by footsteps or wind? And look at the platen itself." She pointed to the edge of the blood pool. "The dust here looks... settled. Compressed. But around the body, on the top of the platen, there's a thin layer of fresh dust, disturbed, then resettled by the blood." Davies squinted. "Are you saying someone dropped dust on him after he was dead?" "I'm saying the dust pattern is inconsistent with a sudden, accidental drop." Harlow moved back to the victim. The peculiar length of the fingers nagged at her. Something about it echoed other, suppressed memories. "Tell me again, what did the security guard hear?" "Just a kind of... heavy thud, he said. Like a load dropped. Around midnight." Davies checked his notepad. Harlow bent lower, pulling out a small pen light. She shone it along the victim's exposed arm. His shirt sleeve was torn, revealing skin that was eerily pale. No, not just pale. Almost translucent. And tracing the veins, a fine network of dark lines, like brittle, ancient script. "Davies, did anyone look for residue here? Any strange particles?" "CSI just finished their passes. Standard forensics. Nothing unusual. No accelerants, no footprints from the perp, just the security guard's and ours." Davies's voice held a slight edge of defensiveness. But Harlow wasn't listening. Her gaze had fixed on something else. Embedded firmly in the concrete, just inches from the spread fingers of the victim, was a bone token. Small, smooth, intricately carved with symbols she couldn't quite decipher, but recognised, deep down. Her blood ran cold. The token pulsed faintly with a faint, almost invisible light, visible only when she moved just so. "Get Dr. Vance back here," Harlow ordered, her voice low, tight. "Tell him to bring every damned black light, Geiger counter, and spectral analyser he's got. Tell him... this isn't an accident." Davies opened his mouth, then closed it. The urgency in Harlow's tone was unmistakable. He nodded sharply, turning to make the call. Harlow knelt again. The bone token. She'd only heard whispers of such things, always dismissed them as urban myths. They were entry requirements, she recalled, for some kind of gathering. A market. A place where things traded were not currency. She reached out a gloved hand and gently nudged the token. It was unnaturally cold, radiating a subtle chill despite the oppressive warmth of the night. Her fingers brushed against one of the victim's splayed, translucent fingertips. A jolt, like static electricity, shot up her arm. As she recoiled, she saw it: a faint, dark ripple spread across the victim's skin, starting from the point of contact, like ink bleeding through parchment. She followed the ripple with her eyes, up his arm, towards his shoulder, and then, inexorably, towards his chest. Beneath his t-shirt, where the blood pooled so neatly, a section of his flesh had not completely solidified. It still moved. Not a shudder, not a twitch, but a slow, rhythmic undulation, as if something was breathing within the chest cavity itself. A dark, impossibly long tendril of shadow stretched out from beneath the platen, reaching for the shimmering bone token, then swiftly retreated back into the darkness beneath the victim. The light from her pen beam seemed to dim near the shadow. This wasn't just murder. It was far, far worse.
created_at"2026-02-25T01:03:00.946Z" 2/25/2026, 1:03:00 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1485
moderation_latency(null)
generation_time16688
tokens_prompt4671
tokens_completion2585
native_tokens_prompt4537
native_tokens_completion2975
native_tokens_completion_images0
native_tokens_reasoning1332
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"
usage0.0087986
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency1485
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981380-7N10AtZ4Q5D1zylWHXmK"
upstream_id(null)
total_cost0.0087986
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
totalTags13
adverbTagCount1
adverbTags
0"Harlow moved back [back]"
dialogueSentences29
tagDensity0.448
leniency0.897
rawRatio0.077
effectiveRatio0.069
78.80% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1179
totalAiIsmAdverbs5
found
0
adverb"slowly"
count1
1
adverb"sharply"
count1
2
adverb"gently"
count1
3
adverb"inexorably"
count1
4
adverb"completely"
count1
highlights
0"slowly"
1"sharply"
2"gently"
3"inexorably"
4"completely"
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)
36.39% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1179
totalAiIsms15
found
0
word"scanned"
count1
1
word"hulking"
count1
2
word"perfect"
count1
3
word"chill"
count2
4
word"footsteps"
count1
5
word"echoed"
count1
6
word"tracing"
count1
7
word"standard"
count1
8
word"firmly"
count1
9
word"pulsed"
count1
10
word"spectral"
count1
11
word"oppressive"
count1
12
word"warmth"
count1
13
word"rhythmic"
count1
highlights
0"scanned"
1"hulking"
2"perfect"
3"chill"
4"footsteps"
5"echoed"
6"tracing"
7"standard"
8"firmly"
9"pulsed"
10"spectral"
11"oppressive"
12"warmth"
13"rhythmic"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood ran cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences81
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences81
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)
analyzedSentences96
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen38
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords4
totalWords1179
ratio0.003
matches
0"on"
1"poured"
2"other"
3"into"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount816
uniqueNames3
maxNameDensity1.59
worstName"Harlow"
maxWindowNameDensity3.5
worstWindowName"Davies"
discoveredNames
Harlow13
Muted1
Davies12
persons
0"Harlow"
1"Davies"
places(empty)
globalScore0.703
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences59
glossingSentenceCount1
matches
0"quite decipher, but recognised, deep down"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords3.393
wordCount1179
matches
0"not sprayed, but *poured*"
1"Not only was it covered in a thick layer of industrial dust, almost fur-like, but some of the blood beneath the body had seeped *into* the dus"
2"Not a shudder, not a twitch, but a slow, rhythmic undulation, as if something was breathing w"
3"not a twitch, but a slow, rhythmic undulation, as if something was breathing w"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences96
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean34.68
std23.29
cv0.672
sampleLengths
067
142
242
320
467
52
638
748
817
915
1039
1136
1249
137
1418
157
1612
1759
1810
1913
2067
2114
2243
2318
2448
2510
2630
2764
2832
2922
3040
3191
3283
339
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences81
matches
0"was torn"
99.75% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs133
matches
0"wasn't listening"
1"was breathing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences96
ratio0
matches(empty)
94.37% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount323
adjectiveStacks0
stackExamples(empty)
adverbCount15
adverbRatio0.04643962848297214
lyAdverbCount5
lyAdverbRatio0.015479876160990712
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences96
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences96
mean12.28
std7.82
cv0.637
sampleLengths
015
115
224
313
423
514
65
75
810
910
106
1111
1211
139
1416
1513
1620
1710
188
192
2019
2119
2212
2315
2415
255
261
2717
282
2913
303
3113
3212
337
344
3526
3610
3735
3814
397
4018
417
422
4310
447
4533
4619
4710
4813
4938
77.78% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.4791666666666667
totalSentences96
uniqueOpeners46
44.44% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences75
matches
0"Not only was it covered"
ratio0.013
81.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences75
matches
0"She ducked under the sagging"
1"Her worn leather watch read"
2"He stood beside a colossal"
3"Her gaze settled on the"
4"It was a dark, hulking"
5"He trailed off, gesturing vaguely"
6"His arm, partially visible, ended"
7"His fingers were unnaturally long."
8"She circled the scene slowly,"
9"It wasn't splashed, not sprayed,"
10"she observed, running a gloved"
11"She straightened, turning to Davies"
12"She pointed to the edge"
13"She shone it along the"
14"His shirt sleeve was torn,"
15"Her gaze had fixed on"
16"Her blood ran cold."
17"He nodded sharply, turning to"
18"She'd only heard whispers of"
19"They were entry requirements, she"
ratio0.347
46.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount62
totalSentences75
matches
0"The stench hit Harlow first:"
1"She ducked under the sagging"
2"Her worn leather watch read"
3"Davies, a younger constable whose"
4"He stood beside a colossal"
5"Harlow scanned the vast space."
6"Dust motes danced in the"
7"Cobwebs draped from girders, heavy"
8"Her gaze settled on the"
9"It was a dark, hulking"
10"Davies pointed with a gloved"
11"Harlow stepped closer, her military"
12"A lone figure lay pinned"
13"Blood had welled from beneath"
14"This wasn't some poor sod"
15"Davies answered, pulling at the"
16"He trailed off, gesturing vaguely"
17"Harlow knelt beside the body,"
18"The victim was male, mid-twenties"
19"His arm, partially visible, ended"
ratio0.827
66.67% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences75
matches
0"Even from a distance, the"
ratio0.013
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences34
technicalSentenceCount2
matches
0"As she recoiled, she saw it: a faint, dark ripple spread across the victim's skin, starting from the point of contact, like ink bleeding through parchment."
1"Not a shudder, not a twitch, but a slow, rhythmic undulation, as if something was breathing within the chest cavity itself."
48.08% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount2
matches
0"worn leather watch read, but the time meant little out here in the abandoned printing press, two decades past its last run"
1"Harlow ordered, her voice low, tight"
81.03% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount2
fancyTags
0"she observed (observe)"
1"Harlow ordered (order)"
dialogueSentences29
tagDensity0.103
leniency0.207
rawRatio0.667
effectiveRatio0.138
83.5099%