Run: 2026-02-25-01KJ95CM7X6HD41H7VJNQY9YQV

Run Details

Duration:
1m 6s
Cost:
$0.003927
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 slick asphalt offered no purchase for her worn soles, each jarring step a testament to the suspect's lead. Not lead by distance, but by sheer, impossible agility. He’d ducked into the maw of the alley moments ago, a fleeting shadow swallowed by the perpetual gloom just as her boot scraped against a discarded bottle. Harlow Quinn’s lungs burned, a familiar sensation, but tonight it was laced with a metallic tang of something more than exertion – dread. Three years had passed since DS Morris vanished, shredded by something that left no earthly trace, and that dread was a constant companion, a ghost pacing her own footsteps. The suspect, whoever they were, moved with a grace that hinted at something *other*. They weren’t just running; they were *flowing* through the labyrinthine city streets, a dark current pulling Harlow downstream. She rounded the corner, the lurid green neon sign of 'The Raven's Nest' casting a sickly glow on the wet pavement, but her quarry was already past it, vanishing towards a narrower passage between two derelict buildings. The air grew heavy, dampness seeping through the worn leather of her jacket, chilling her to the bone. She heard it then, a quick, metallic clank that didn't belong to the city's symphony of grit and grime. The suspect, a blur of motion a block ahead, had veered sharply, not around a corner, but down. Down into a darkened recess beneath a disused Victorian facade, an alley where refuse bins festered and shadows clung like moss. Harlow sprinted, her boots skidding on the wet cobblestones. The air thickened, carrying the cloying scent of decay and something else, something sharp and chemical, like ozone or spilled blood. The suspect was fumbling with a heavy, rusted iron grate set low into the brickwork, partially obscured by overgrown ivy. It rattled ominously as they heaved it open, revealing a black void that breathed cold, damp air onto the narrow street. The suspect didn't pause, didn't look back. They poured into the darkness, a fleeting silhouette, and vanished. Harlow slammed on the brakes, her breath catching in her chest. The grate, still partially ajar, swung back with a weary groan, as if reluctant to reveal its secrets. A trapdoor. A gateway. Her gaze flickered to her watch; the worn leather strap felt clammy against her skin. Three years ago, Sergeant Detective Morris had chased a similar phantom, disappearing into a void that no amount of police work, no amount of shouting into the void, could ever reclaim. He’d spoken of places outside the normal rules, places where sanity frayed and the world bled into… elsewhere. This black hole reeked of that ‘elsewhere’. Her mind, despite its hard-won cynicism, flashed with visions of Morris’s last, terrified transmission. Her partner had been a man of logic, of evidence, but he’d seen the impossible, and it had cost him everything. He’d hinted at a market, a place that shifted, dealt in contraband beyond the law. The Veil Market. The notion had been dismissed as fevered delusion, the ramblings of a man losing his grip. But the scent in the air, the impossible depth of the darkness beyond the grate, told a different story. She knelt, her worn boots finding purchase on the slick stone. The air from the opening was thick, a palpable thing that pressed against her face. It carried the scent of wet earth, of ancient iron, and something else, a faint, sweet perfume that reminded her disturbingly of wilting lilies – a scent that always lingered at the edge of death. The stone steps, slick with condensation, descended into a darkness so profound it seemed to absorb the beam of her torch after only a few feet. She angled the light downwards, trying to pierce the gloom. It illuminated the tops of crumbling steps, the damp, slime-covered brickwork of a tunnel that seemed to twist away into the earth, far below the city’s groaning infrastructure. The scent of decay was thick, cloying, mixed with that unnervingly sweet floral note, like lilies left to rot in a forgotten vase. It filled Harlow’s lungs, a perfume of the grave. Then, the sound. A deep, resonant thrumming started, a vibration that travelled up from the very bones of the earth, felt more than heard. It was underscored by a low, chittering murmur, a thousand tiny voices speaking in unison, a language of scraping teeth and rustling scales that crawled under Harlow’s skin. Not human. Definitely not human. This wasn't the echo of footsteps; it was the sound of a place alive with a different kind of sustenance. Her Saint Christopher medallion, hidden beneath Tommy Herrera’s shirt, felt suddenly cold against her skin. Tommy, her unofficial medical consultant, a former paramedic who understood things better left unseen, would likely caution her. He’d lost his license for venturing into the fringe cases, treating patients who whispered of otherworldly ailments, patients who bled colours not found on a doctor's chart. He understood the liminal spaces. He would tell her to turn back, that such places held no cures, only deeper maladies. But Tommy wasn't here. And Morris was. The memory of his frantic eyes was a fresh wound, a constant prod. Her recollection of Morris’s last, desperate words echoed: "It's real, Quinny. The market… it moves. Watch for the signs. Don't go in blind." He'd spoken of a currency that wasn't coin, of a gatekeeper who demanded sacrifice. Bone tokens. The words, once dismissed as the ravings of a damaged man, now felt like a key. The suspect, whoever they were, had possessed such a token. Harlow gripped the cold, slick edge of the grate. The suspect was down *there*. Inside the Veil Market. Whatever they were running from, or running *to*, it was in that hidden realm. Her badge offered no protection here. Her informants knew the name, The Veil Market, but not the way in, not the rules. They spoke of entrances that appeared and vanished, of a place that moved with the moon. She had no such token. She had only her determination, a dangerous cocktail of duty and obsession honed by three years of unanswered questions. Her transmission about a fleeing suspect heading into an undocumented subterranean network had only met with dead air. The precinct wouldn't send assets for what sounded like a wild goose chase into disused service tunnels. They'd expect specifics, names, probable cause. Not whispers of bone tokens and shifting markets. Not the ghost of DS Morris. She braced her hands against the cold, rough iron. The air grew perceptibly colder, carrying a faint whisper that seemed to brush against her ear, promising answers, or oblivion. The promise of finally understanding what had claimed Morris, of bringing his killer to justice, was a powerful lure. But the price… the price was unknown, and the Veil Market was infamous for extracting payment in blood, sanity, or soul. Her jaw tightened. The choices were stark: retreat and let the unknown offender vanish into the abyss, leaving the case, like Morris's, eternally cold. Or step into the darkness, into the heart of the impossible, and become another ghost in its history. She shifted her weight, her muscles tensing. The faint floral scent, the lilies of the crypt, intensified, a seductive, deadly perfume. A final whisper of the unknown entity seemed to slither into her mind, not a word, but a feeling: *Enter. And be consumed.* Her knuckles were white as she gripped the grate. The distant murmur swelled, urging her on.
created_at"2026-02-25T01:07:36.325Z" 2/25/2026, 1:07:36 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1117
moderation_latency(null)
generation_time65665
tokens_prompt4663
tokens_completion18015
native_tokens_prompt4507
native_tokens_completion9605
native_tokens_completion_images0
native_tokens_reasoning8021
native_tokens_cached4062
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"
usage0.00392712
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1117
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771981656-BXTTlLIVYn9A9cqF9QJ3"
upstream_id(null)
total_cost0.00392712
cache_discount0.00036558
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences1
tagDensity1
leniency1
rawRatio0
effectiveRatio0
88.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1250
totalAiIsmAdverbs3
found
0
adverb"sharply"
count1
1
adverb"very"
count1
2
adverb"suddenly"
count1
highlights
0"sharply"
1"very"
2"suddenly"
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)
8.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1250
totalAiIsms23
found
0
word"testament"
count1
1
word"maw"
count1
2
word"fleeting"
count2
3
word"gloom"
count2
4
word"familiar"
count1
5
word"footsteps"
count2
6
word"chilling"
count1
7
word"symphony"
count1
8
word"facade"
count1
9
word"flickered"
count1
10
word"palpable"
count1
11
word"profound"
count1
12
word"grave"
count1
13
word"echo"
count1
14
word"otherworldly"
count1
15
word"echoed"
count1
16
word"whisper"
count2
17
word"stark"
count1
18
word"weight"
count1
highlights
0"testament"
1"maw"
2"fleeting"
3"gloom"
4"familiar"
5"footsteps"
6"chilling"
7"symphony"
8"facade"
9"flickered"
10"palpable"
11"profound"
12"grave"
13"echo"
14"otherworldly"
15"echoed"
16"whisper"
17"stark"
18"weight"
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
narrationSentences86
matches(empty)
59.80% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences86
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)
analyzedSentences86
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords8
totalWords1252
ratio0.006
matches
0"other"
1"flowing"
2"there"
3"to"
4"Enter. And be consumed."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1209
uniqueNames12
maxNameDensity0.66
worstName"Morris"
maxWindowNameDensity1.5
worstWindowName"Morris"
discoveredNames
Quinn1
Morris8
Harlow7
Victorian1
Sergeant1
Detective1
Veil4
Market4
Saint1
Christopher1
Tommy3
Herrera1
persons
0"Quinn"
1"Morris"
2"Harlow"
3"Sergeant"
4"Detective"
5"Saint"
6"Christopher"
7"Tommy"
8"Herrera"
places
0"Veil"
1"Market"
globalScore1
windowScore1
7.14% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount4
matches
0"tunnel that seemed to twist away into the earth, far below the city’s groaning infrastructure"
1"felt like a key"
2"sounded like a wild goose chase into disus"
3"whisper that seemed to brush against her ear, promising answers, or oblivion"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords2.396
wordCount1252
matches
0"Not lead by distance, but by sheer, impossible agility"
1"not around a corner, but down"
2"not a word, but a feeling: *Enter"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences86
matches(empty)
30.30% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs13
mean96.31
std24.66
cv0.256
sampleLengths
0107
187
2146
397
495
5125
6109
7101
865
994
1055
11111
1260
88.94% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences86
matches
0"was laced"
1"were, moved"
2"been dismissed"
3"was underscored"
59.65% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs190
matches
0"were *flowing"
1"weren’t just running"
2"was fumbling"
3"were running"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount3
flaggedSentences5
totalSentences86
ratio0.058
matches
0"Harlow Quinn’s lungs burned, a familiar sensation, but tonight it was laced with a metallic tang of something more than exertion – dread."
1"They weren’t just running; they were *flowing* through the labyrinthine city streets, a dark current pulling Harlow downstream."
2"Her gaze flickered to her watch; the worn leather strap felt clammy against her skin."
3"It carried the scent of wet earth, of ancient iron, and something else, a faint, sweet perfume that reminded her disturbingly of wilting lilies – a scent that always lingered at the edge of death."
4"This wasn't the echo of footsteps; it was the sound of a place alive with a different kind of sustenance."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount161
adjectiveStacks0
stackExamples(empty)
adverbCount4
adverbRatio0.024844720496894408
lyAdverbCount1
lyAdverbRatio0.006211180124223602
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences86
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences86
mean14.56
std8.55
cv0.587
sampleLengths
019
19
227
323
429
514
618
737
818
919
1018
1121
129
1321
1420
1521
167
1710
1811
1918
202
212
2215
2331
2417
251
267
2714
2821
2915
303
3116
3219
3311
3415
3535
3626
3710
3828
3923
409
413
4221
4328
442
453
4620
4715
4818
4927
37.21% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.2558139534883721
totalSentences86
uniqueOpeners22
82.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences81
matches
0"Then, the sound."
1"Definitely not human."
ratio0.025
61.98% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences81
matches
0"He’d ducked into the maw"
1"They weren’t just running; they"
2"She rounded the corner, the"
3"She heard it then, a"
4"It rattled ominously as they"
5"They poured into the darkness,"
6"Her gaze flickered to her"
7"He’d spoken of places outside"
8"Her mind, despite its hard-won"
9"Her partner had been a"
10"He’d hinted at a market,"
11"She knelt, her worn boots"
12"It carried the scent of"
13"She angled the light downwards,"
14"It illuminated the tops of"
15"It filled Harlow’s lungs, a"
16"It was underscored by a"
17"Her Saint Christopher medallion, hidden"
18"He’d lost his license for"
19"He understood the liminal spaces."
ratio0.395
52.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount66
totalSentences81
matches
0"The slick asphalt offered no"
1"He’d ducked into the maw"
2"Harlow Quinn’s lungs burned, a"
3"The suspect, whoever they were,"
4"They weren’t just running; they"
5"She rounded the corner, the"
6"The air grew heavy, dampness"
7"She heard it then, a"
8"The suspect, a blur of"
9"Harlow sprinted, her boots skidding"
10"The air thickened, carrying the"
11"The suspect was fumbling with"
12"It rattled ominously as they"
13"The suspect didn't pause, didn't"
14"They poured into the darkness,"
15"Harlow slammed on the brakes,"
16"The grate, still partially ajar,"
17"Her gaze flickered to her"
18"He’d spoken of places outside"
19"This black hole reeked of"
ratio0.815
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences81
matches(empty)
ratio0
25.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount9
matches
0"The air grew heavy, dampness seeping through the worn leather of her jacket, chilling her to the bone."
1"It rattled ominously as they heaved it open, revealing a black void that breathed cold, damp air onto the narrow street."
2"The grate, still partially ajar, swung back with a weary groan, as if reluctant to reveal its secrets."
3"It carried the scent of wet earth, of ancient iron, and something else, a faint, sweet perfume that reminded her disturbingly of wilting lilies – a scent that a…"
4"It illuminated the tops of crumbling steps, the damp, slime-covered brickwork of a tunnel that seemed to twist away into the earth, far below the city’s groanin…"
5"A deep, resonant thrumming started, a vibration that travelled up from the very bones of the earth, felt more than heard."
6"It was underscored by a low, chittering murmur, a thousand tiny voices speaking in unison, a language of scraping teeth and rustling scales that crawled under H…"
7"He’d lost his license for venturing into the fringe cases, treating patients who whispered of otherworldly ailments, patients who bled colours not found on a do…"
8"The air grew perceptibly colder, carrying a faint whisper that seemed to brush against her ear, promising answers, or oblivion."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
70.0630%