Run: 2026-02-25-01KJ95QBJNNPT4F26QHCZ3NVBC

Run Details

Duration:
16.9s
Cost:
$0.002344
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 blurred beneath Harlow Quinn’s worn tactical boots. Rain lashed down, plastering her closely cropped salt-and-pepper hair to her skull, a chilling contrast to the heat burning in her lungs. The suspect – a lean silhouette that moved with unnatural speed – just vanished around the corner of that boarded-up warehouse. He wasn’t supposed to be here, not in this labyrinth of derelict industry bordering the docks. Not chasing *him*. Quinn pushed off the brick wall, her sharp jaw set. Eighteen years on the Met, more than she cared to count, and this kind of animalistic flight always set her teeth on edge. He’d made the mistake of looking back, just a flicker, enough for her to catch the wildness in his eyes. The kind of wildness that spoke of corners they shouldn't have turned, doors they shouldn't have opened. A faint metallic tang, sharp and unpleasant, cut through the ubiquitous scent of damp city grit. Not oil. Something else. He ducked into a narrow alley, the opening swallowing him whole. Quinn didn't hesitate. She launched herself after him, the brick walls closing in, slick with grime and refuse. Water pooled around her ankles, reflecting the meagre light from distant streetlamps like fractured obsidian. Another turn. He was fast, a ghost on the wet concrete, but Quinn pursued with the relentless precision that had earned her commendations and a reputation for closing cases. She’d lost Morris three years ago, swallowed by something she still couldn’t name, and the scent of the unknown now clung to every chase like this. Every shadow seemed to hold Morris’s vacant stare. He scrambled over a low chain-link fence, tearing at his worn jacket. Quinn vaulted it with practiced ease, rolling onto the other side. Not a dead end. Beneath a flickering, half-broken neon sign that once promised cheap lager, a metal grate lay askew, gaping like a missing tooth in the grimy facade of a derelict building. The suspect didn't pause. He dropped through it. Quinn skidded to a halt, the rain plastering her uniform against her skin. The air that rushed up from the opening was thick, stagnant, smelling of mould, stagnant water, and something else – something like damp earth and old iron. A faint, rhythmic *drip... drip... drip* echoed from the black maw below, a mocking metronome. This wasn't a storm drain. Not a typical abandoned service tunnel. Her gut churned. This was the kind of place Morris would have warned her about, before... before. She dropped her weapon, a standard-issue Glock, then hesitated. Not yet. The worn leather strap on her left wrist dug into her skin as she checked her watch. No signal reception down here, she’d bet her pension on it. The suspect was gone, swallowed by the darkness. Following meant stepping off the map, past the official boundaries of her jurisdiction, perhaps past any boundary the Met even acknowledged existed. This chase was personal, a phantom limb ache for a ghost she couldn’t officially acknowledge. She knelt, peering into the hole. The suspect’s ragged form was already a smudge, descending a rough-hewn staircase that seemed to be carved directly into the earth and brick. The sounds of the city, the distant roar of traffic, the mournful wail of a lonely siren, faded rapidly, replaced by the unsettling quiet of the deep. This place was not on any of her maps, not even the supplementary ones filled with known gang territories and illicit fronts. It smelled of secrets, the kind that didn't stay buried. *Morris.* The name was a phantom ache. He’d been chasing ghosts too, for years, before one finally caught him. The Veil Market. That was the whisper on the streets, a place that moved, a place for things that shouldn't be. Always before a full moon. Was this it? Had the chase, for the first time, led her to the periphery of what had truly taken her partner? The thought sent a shiver down her spine, cold and unwelcome as the ceaseless rain. She gripped the rough edge of the opening. The suspect could be anywhere now, melting into a network of tunnels that swallowed light and sound. The risk was immense. Going purely on instinct and the phantom echo of Morris’s fate, she knew she had to. This was no ordinary criminal. This was the path that led away from the mundane, a path she’d deliberately avoided for three years. The scent of copper, of something ancient and wrong, was stronger down there, a siren call to her buried grief. Taking a deep breath that did little to dispel the cold dampness clinging to her, Quinn swung her legs over the edge. She landed lightly on the muddy, uneven steps, her boots sinking slightly into the yielding earth. The grating snapped shut above her with a heavy clang, plunging her into near total darkness, broken only by the faint, almost imperceptible glow emanating from a cluster of phosphorescent fungi clinging to the tunnel wall. The air grew colder, heavier, pressing in on her. The faint, metallic tang was more pronounced here, almost coppery, like blood and old pennies. A low, constant hum vibrated through the soles of her boots, not mechanical, but organic, like a vast, sleeping organism stirring in its slumber. And beneath it, a murmur. Voices, distant and indistinct, like wind whistling through a distant, cavernous space, carried on currents of chilled, fetid air. She drew her weapon, the familiar weight a small comfort in her palm. Her senses strained, trying to make out shapes in the gloom. The tunnel twisted, the rough-hewn walls giving way to something smoother, lined with decaying, iridescent tiles that, in their original glory, might have been ornate. London's forgotten underbelly, yes, but this felt older, deeper, a place where the city’s foundations gave way to something more primal. The suspect was long gone, a shadow swallowed by this subterranean beast. The passages branched, a disorienting maze that played tricks on her limited visibility. She could follow the faint scuff marks on the damp, packed earth floor, or trust the unnerving hum that seemed to draw her deeper, a discordant symphony pulling her towards an unseen centre. She chose the latter, the hum a relentless, inexorable pull towards a faint, pulsing light ahead. The rough descent had ended, and now, the market itself began to reveal itself, not with a grand unveiling, but a creeping, insidious emergence. It wasn't just a market. It was a warren carved from the earth and the neglected arteries of the city, lit by makeshift, guttering candles that cast dancing shadows, and the eerie, unnatural glow of enchanted objects displayed on rickety stalls. Haps were hastily erected, draped with dark, heavy cloth embroidered with symbols she didn’t recognize, their patterns seeming to writhe in the flickering light. Along the curved walls of what must have been an old Tube station platform, figures huddled in alcoves, hawking wares that shimmered with an unhealthy light, their faces hidden in deep hoods or obscured by veils. The air thrummed with the low murmur of a crowd, but these weren't common shoppers. These were practitioners, dealers, predators. This was the Veil Market. A figure darted past her peripheral vision, a blur of movement against the arcane tapestry of the stalls. It was the suspect, weaving through a throng of cloaked individuals with an agility born of desperation. He wasn't running anymore. He was seeking something, or someone, his head swivelling wildly. Quinn’s grip tightened on her Glock, her knuckles white. She followed, pushing through bodies that smelled of spices she couldn’t name, damp wool, and something acrid, like burnt sugar and abject fear. She spotted him again, near a stall piled high with vials of glowing liquids and intricately carved bone trinkets. He snatched something from the stall owner – a heavy, dark token, shaped vaguely like a fossilised tooth. The stall owner hissed, a sound like dry leaves skittering across stone, but he didn't give chase, merely clutching his hand to his chest. The suspect shoved the token into his clenched fist, then darted towards a dark, arching doorway at the far end of the platform. A sign, crudely scrawled in phosphorescent paint, hung above it: 'THE VEIL'. Quinn broke into a run, her boots echoing on the tiled floor, the sound swallowed by the market’s ambient hum. This was it. The dead end. The heart of the operation. The suspect reached the doorway, then stumbled, turning back with a desperate, cornered look, his breath misting in the chill air. He didn't see the other figure that emerged from the shadows beside the doorway. A tall, cloaked woman, completely obscuring her features, her hand outstretched. Not towards the suspect, but towards Quinn. In her palm, cradled like a jewel, was a single, polished bone token. The same shape as the one the suspect clutched. The woman’s voice, when it came, was a dry whisper, like rustling silk. "You shouldn't have followed, Detective." Beneath her feet, Quinn felt the low hum intensify, vibrating up through her bones, a palpable wave of power. The air grew thick, crackling with unseen energy, charged with a latent threat. The suspect froze, caught between his pursuer and this new, dark presence that seemed to emanate an ancient, chilling authority. Quinn’s breath hitched. The woman’s gaze, unseen but undeniably felt, locked onto hers, cold and appraising. And then, the woman’s hand tightened around the bone token, her fingers visibly whitening as the token pulsed with a faint, internal light. The doorway behind the suspect flared with an unnatural, pulsing green light, bathing his terrified face in its alien glow. The suspect screamed, a thin, reedy sound that was abruptly cut short as he was snatched forward into the emerald glare, disappearing as if he’d never been. The green light flickered, then died, leaving only the dim, shifting shadows of the Veil Market. And the woman, still standing there, her hand now empty, her unseen gaze fixed on Quinn.
created_at"2026-02-25T01:13:27.903Z" 2/25/2026, 1:13:27 AM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1418
moderation_latency(null)
generation_time16813
tokens_prompt4663
tokens_completion4039
native_tokens_prompt4507
native_tokens_completion5647
native_tokens_completion_images0
native_tokens_reasoning3488
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"
usage0.00234392
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency1417
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771982007-MncbWNr6l6swy41pioWT"
upstream_id(null)
total_cost0.00234392
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
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences1
tagDensity1
leniency1
rawRatio0
effectiveRatio0
84.98% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1665
totalAiIsmAdverbs5
found
0
adverb"truly"
count1
1
adverb"deliberately"
count1
2
adverb"lightly"
count1
3
adverb"slightly"
count1
4
adverb"completely"
count1
highlights
0"truly"
1"deliberately"
2"lightly"
3"slightly"
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)
0.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1665
totalAiIsms33
found
0
word"chilling"
count2
1
word"flicker"
count1
2
word"fractured"
count1
3
word"practiced ease"
count1
4
word"facade"
count1
5
word"rhythmic"
count1
6
word"echoed"
count1
7
word"maw"
count1
8
word"churned"
count1
9
word"standard"
count1
10
word"whisper"
count2
11
word"down her spine"
count1
12
word"ceaseless"
count1
13
word"echo"
count1
14
word"vibrated"
count1
15
word"mechanical"
count1
16
word"chilled"
count1
17
word"familiar"
count1
18
word"weight"
count1
19
word"gloom"
count1
20
word"symphony"
count1
21
word"dancing"
count1
22
word"shimmered"
count1
23
word"tapestry"
count1
24
word"echoing"
count1
25
word"chill"
count1
26
word"silk"
count1
27
word"palpable"
count1
28
word"charged"
count1
29
word"pulsed"
count1
30
word"flickered"
count1
highlights
0"chilling"
1"flicker"
2"fractured"
3"practiced ease"
4"facade"
5"rhythmic"
6"echoed"
7"maw"
8"churned"
9"standard"
10"whisper"
11"down her spine"
12"ceaseless"
13"echo"
14"vibrated"
15"mechanical"
16"chilled"
17"familiar"
18"weight"
19"gloom"
20"symphony"
21"dancing"
22"shimmered"
23"tapestry"
24"echoing"
25"chill"
26"silk"
27"palpable"
28"charged"
29"pulsed"
30"flickered"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"clenched jaw/fists"
count1
1
label"sent a shiver through"
count1
highlights
0"clenched fist"
1"sent a shiver down"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences119
matches(empty)
70.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences119
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences120
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords5
totalWords1669
ratio0.003
matches
0"him"
1"drip... drip... drip"
2"Morris."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions30
wordCount1662
uniqueNames8
maxNameDensity0.78
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn13
Met2
Morris5
Glock2
Veil3
Market3
Tube1
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Glock"
places(empty)
globalScore1
windowScore1
12.64% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences91
glossingSentenceCount5
matches
0"something like damp earth and old iron"
1"staircase that seemed to be carved directly into the earth and brick"
2"hum that seemed to draw her deeper, a discordant symphony pulling her towards an unseen centre"
3"presence that seemed to emanate an ancient, chilling authority"
4"n, her fingers visibly whitening as the to"
20.25% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.797
wordCount1669
matches
0"not mechanical, but organic, like a vast, sleeping organism stirring in its slum"
1"not with a grand unveiling, but a creeping, insidious emergence"
2"Not towards the suspect, but towards Quinn"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences120
matches(empty)
56.58% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs22
mean75.86
std26.4
cv0.348
sampleLengths
072
190
2107
364
483
584
688
782
888
983
1063
1182
1286
13126
1481
1596
1652
1754
1813
195
2091
2179
99.37% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences119
matches
0"was gone"
1"was snatched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs261
matches
0"wasn't running"
1"was seeking"
71.43% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences3
totalSentences120
ratio0.025
matches
0"The suspect – a lean silhouette that moved with unnatural speed – just vanished around the corner of that boarded-up warehouse."
1"The air that rushed up from the opening was thick, stagnant, smelling of mould, stagnant water, and something else – something like damp earth and old iron."
2"He snatched something from the stall owner – a heavy, dark token, shaped vaguely like a fossilised tooth."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1380
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.03260869565217391
lyAdverbCount19
lyAdverbRatio0.013768115942028985
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences120
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences120
mean13.91
std8.36
cv0.601
sampleLengths
010
122
221
316
43
510
623
720
817
916
102
112
1211
133
1415
1515
162
1727
1826
198
2012
2111
224
2329
244
254
2613
2727
284
291
3010
315
326
333
3413
351
369
372
3817
3911
408
4122
4215
436
4423
4527
4622
4710
487
4912
35.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.2916666666666667
totalSentences120
uniqueOpeners35
29.50% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences113
matches
0"Always before a full moon."
ratio0.009
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences113
matches
0"He wasn’t supposed to be"
1"He’d made the mistake of"
2"He ducked into a narrow"
3"She launched herself after him,"
4"He was fast, a ghost"
5"She’d lost Morris three years"
6"He scrambled over a low"
7"He dropped through it."
8"Her gut churned."
9"She dropped her weapon, a"
10"She knelt, peering into the"
11"It smelled of secrets, the"
12"He’d been chasing ghosts too,"
13"She gripped the rough edge"
14"She landed lightly on the"
15"She drew her weapon, the"
16"Her senses strained, trying to"
17"She could follow the faint"
18"She chose the latter, the"
19"It wasn't just a market."
ratio0.248
44.07% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount94
totalSentences113
matches
0"The slick asphalt blurred beneath"
1"Rain lashed down, plastering her"
2"The suspect – a lean"
3"He wasn’t supposed to be"
4"Quinn pushed off the brick"
5"He’d made the mistake of"
6"The kind of wildness that"
7"A faint metallic tang, sharp"
8"He ducked into a narrow"
9"Quinn didn't hesitate."
10"She launched herself after him,"
11"Water pooled around her ankles,"
12"He was fast, a ghost"
13"She’d lost Morris three years"
14"Every shadow seemed to hold"
15"He scrambled over a low"
16"Quinn vaulted it with practiced"
17"The suspect didn't pause."
18"He dropped through it."
19"Quinn skidded to a halt,"
ratio0.832
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences113
matches(empty)
ratio0
17.86% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences80
technicalSentenceCount14
matches
0"The suspect – a lean silhouette that moved with unnatural speed – just vanished around the corner of that boarded-up warehouse."
1"He was fast, a ghost on the wet concrete, but Quinn pursued with the relentless precision that had earned her commendations and a reputation for closing cases."
2"The air that rushed up from the opening was thick, stagnant, smelling of mould, stagnant water, and something else – something like damp earth and old iron."
3"The suspect’s ragged form was already a smudge, descending a rough-hewn staircase that seemed to be carved directly into the earth and brick."
4"Taking a deep breath that did little to dispel the cold dampness clinging to her, Quinn swung her legs over the edge."
5"The passages branched, a disorienting maze that played tricks on her limited visibility."
6"She could follow the faint scuff marks on the damp, packed earth floor, or trust the unnerving hum that seemed to draw her deeper, a discordant symphony pulling…"
7"It was a warren carved from the earth and the neglected arteries of the city, lit by makeshift, guttering candles that cast dancing shadows, and the eerie, unna…"
8"Along the curved walls of what must have been an old Tube station platform, figures huddled in alcoves, hawking wares that shimmered with an unhealthy light, th…"
9"He was seeking something, or someone, his head swivelling wildly."
10"She followed, pushing through bodies that smelled of spices she couldn’t name, damp wool, and something acrid, like burnt sugar and abject fear."
11"The suspect reached the doorway, then stumbled, turning back with a desperate, cornered look, his breath misting in the chill air."
12"The suspect froze, caught between his pursuer and this new, dark presence that seemed to emanate an ancient, chilling authority."
13"The suspect screamed, a thin, reedy sound that was abruptly cut short as he was snatched forward into the emerald glare, disappearing as if he’d never been."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
73.6691%