Run: 2026-02-25-01KJ95V1CT1NSMMPH6BPN7AKQR

Run Details

Duration:
20.5s
Cost:
$0.011295
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
Her breath hitched, a ragged gasp clawing at her throat. The alley reeked of stale refuse and something sharper, metallic, fighting for air against the downpour. Each stride jarred her bones, the worn leather of her shoes slapping against slick pavement. Rain plastered her closely cropped salt-and-pepper hair to her scalp, rivers of cold water tracing paths down her face, mingling with sweat. Forty-one years, eighteen of them pounding London streets, and she still cursed her lungs every time. The shadow ahead, a fleeting shape between overflowing bins, darted left. Quinn swore under her breath, a guttural sound lost in the drumming rain. They were closer to the river now, the churning Thames a low growl beneath the city's frantic pulse. She cleared the alley mouth, skidding slightly on a greasy patch of pavement, her eyes scanning the empty thoroughfare. No one. Just the blurred streaks of car lights and the echoing drone of traffic. *Gone.* A flicker near a recessed doorway, barely visible behind a grimy storefront shutter. A small, dark figure, hunched, slipped through a gap in the corrugated metal. Too small for most adults. What kind of person was she chasing? She sprinted, her hand already on the service pistol holstered at her hip, the cold grip a familiar comfort. The gap seemed to shrink as she neared, a dark maw threatening to close shut. She hurled herself forward, shoulders scraping brick and metal, ignoring the sharp pain. She landed hard on cracked concrete, the air thick with damp earth and something else, something cloying and sweet, like stale incense and sickly rot. The narrow passage stretched into murky darkness, a tunnel leading deeper into the earth. The clatter of feet ahead echoed, distant and fading. This was a bad idea. Every instinct screamed *turn back*. Public access certainly wasn't available here. But the target was too important, the trail too fresh to abandon. She thumbed the torch on her worn phone, its weak beam cutting a trembling path through the gloom. Water dripped from unseen cracks in the ceiling, forming viscous puddles underfoot. The walls, once brick, had given way to rough-hewn rock, studded with glowing fungi, pulsating with an unsettling, soft light. The air grew heavier, smelling of stagnant water and something unidentifiable, like burnt sugar mixed with old blood. The sounds of the city faded, replaced by the faint murmur of voices, a low hum, and the distant clang of metal on metal. The ground sloped downwards, the darkness swallowing the weak cone of her torch. Quinn kept one hand on the grimy wall, moving cautiously, her other still hovering over her pistol. She wasn’t stupid. A lone officer, deep underground, chasing a suspect she hadn’t even properly identified. This was how Morris had gone. Unexplained circumstances. Supernatural origins. She still didn't understand. The tunnel opened abruptly into a cavernous space. Quinn paused, pressing herself against the damp rock, allowing her eyes to adjust. The underground market. The stories were true. The <location id="856" name="The Veil Market"/> pulsed with an unnatural vibrancy. Stalls constructed from salvaged materials lined winding paths, lit by flickering gas lamps and strange, bio-luminescent flora. Figures moved through the throngs, some distinctly human, others less so – hunched forms with too many joints, shadows that shifted in the periphery, creatures with eyes that gleamed with unnerving intelligence. The air thrummed with a cacophony of languages, bartering, and the strange calls of vendors hawking their wares. Her nose wrinkled at the collective scent: exotic spices, damp fur, cheap perfume, and something acrid, like potent chemicals. This was beneath Camden, according to the whispers. An abandoned Tube station, long forgotten by the surface world, repurposed for the unsanctioned. She saw her quarry then, a figure weaving through the crowd, surprisingly agile, disappearing behind a stall laden with glass vials of shimmering liquids. Quinn pushed off the wall, a jolt of adrenaline cutting through her apprehension. She had a job to do. Navigating the market was like swimming through molasses. The crowd was thick, their bodies pressing in, brushing against her, some too cold, some strangely hot. Vendors shouted, their voices echoing off the unseen ceiling. One stall offered charms carved from bone and dark wood, another displayed taxidermied creatures with too many limbs, their glassy eyes staring blankly. A robed figure tried to hand her a small, squirming pouch. She swatted it away. "You lost, copper?" A voice, rough like gravel, scraped through the din. Quinn spun, hand going to her pistol. A brute of a man, his face a roadmap of scars, stood too close, a thick-necked bottle in his hand. His breath carried the odour of cheap spirits and something else. Not human. "Move." Her voice, low and steady, cut through the noise. He snarled, stepping closer, his bulk blocking her path. "I said, move." Her hand closed around the grip of her weapon, the slight click of the safety echoing loud against the market's hum. The scarred man's eyes, small and piggish, flickered to the weapon. He hesitated, then a slow grin spread across his face, revealing mismatched teeth. "Always a pleasure to see the constabulary," he drawled, stepping aside with a theatrical bow that was more mockery than deference. Quinn pushed past him, her gaze cutting through the crowd, searching for the small figure. She caught a glimpse, a flash of dark clothing near a section selling what looked suspiciously like forbidden anatomical specimens. The chase continued, a desperate slalom through the shadowy alleys of the market. She almost collided with a woman bartering over what looked like a pulsating organ in a jar, then swerved around a cage filled with chittering, unseen things. The air shifted, growing cooler, carrying the distant scent of antiseptic and something faintly metallic. A small clinic, perhaps? Her target ducked into a makeshift alcove, barely larger than a cupboard, hidden between a vendor selling dubious potions and another offering gleaming, arcane weapons. Quinn followed, her strides long and purposeful. Before she could round the corner, a figure stepped out, blocking her path. "Detective Quinn." <character id="4417" name="Tomás Herrera"/> stood there, calm amidst the chaos, his warm brown eyes immediately fixing on her. He wore a dark, clean jacket, his Saint Christopher medallion glinting faintly against his olive skin. A small, but presentable, black medical bag was slung over his shoulder. The scar on his left forearm, a jagged line from a knife attack, was clearly visible as he crossed his arms. "Herrera." She kept her voice even, her pulse still hammering from the chase. "You're a long way from home." "This *is* home, in a manner of speaking." He gestured vaguely at the bustling market around them. "Not for you, though." "I'm on a case." "Evidently." He glanced past her, then back. "Chasing shadows, are we?" "Just doing my job." "Your job rarely takes you this far off the grid." A flicker of concern crossed his face. "This path isn't for you, Harlow. Too many sharp edges." "That's for me to decide," she retorted, attempting to move around him. He blocked her easily, not moving his feet, just shifting his body. "And it is my decision to try and keep you from getting yourself killed." He lowered his voice, the underlying severity of his tone cutting through the market's drone. "The thing you're chasing. It's not what you think. Gets in places normal folk can't. Gets *out* of places even fewer can." "You know something." He sighed, a quiet, weary sound. "I know enough to confirm this isn't a simple collar. A small figure, quick on its feet, avoids direct confrontation, leaves no solid trace?" "You've seen them, then?" Hope, sharp and unwelcome, pricked at her. "Seen its kind." He looked at her, truly looked at her, his gaze holding an uncharacteristic intensity. "This place... it doesn't tolerate outsiders poking around like you. Not without a guide. Not without protection." "Protection?" Quinn scoffed. "My badge is all the protection I need." "Here, that's just a target." He shook his head slowly. "The person you're looking for, they're heading for the deeper sections. Beyond the stalls, where the real trading happens. Where they sell things even *I* wouldn't touch. You go in there without understanding, you'll be another unsolved. Another ghost story." "I can handle myself." He took a step towards her, his voice dropping to a near whisper. "One of Silas's people stumbled in there last month, just looking for some rare herbs. Came back with half his face melted off, babbling about whispers in the shadows. We saved him, barely." He pulled a small, worn bone from his pocket, a peculiar, smooth item. "You recognise this?" Quinn looked at the small, polished bone. It felt ancient, radiating a strange, faint coldness. "No." "A bone token." He closed his hand over it, then opened it, showing it was gone. "The only currency that truly matters in some parts of this market. Without it, you're merely an intruder." "Sounds like a useful thing to have," she said, her eyes flicking past him again. The small figure – her quarry – was definitely gone. Deeper. Just as Tomás said. "It is. But not for your purposes." He took another step, putting himself squarely in her path. "Consider this a professional courtesy, Detective. From someone who knows both sides of this coin. Let them go." Quinn stared past him, her jaw set. Losing this trail, letting this thing get away… Her partner's death, the unanswered questions, they all came swirling back. This was part of it, she knew it in her gut. She had to keep pushing. "I can't." "Then you'll need this." Tomás grabbed her arm, his fingers surprisingly strong, and pressed something cold and metallic into her palm. A small, silver ankh on a leather cord. "Wear it. Don't remove it. It might buy you an extra minute or two, if you're lucky." Before she could question him, he released her, his gaze fixed on something over her shoulder. His eyes widened slightly. "Too late." Quinn spun, lifting her pistol, the sudden movement throwing her off balance in the dense crowd. A pair of figures emerged from the shadows across from them, their faces obscured by the dim lighting, their frames unnaturally tall and thin. The market sounds seemed to quiet, a hush falling around them, as if the crowd sensed the shift. The figures were weaving their way through the market, not towards her, but towards the deeper, darker passage where her quarry had vanished. She tightened her grip on the pistol, the silver ankh digging into her palm. She didn't know who these new figures were, or what they wanted. But their presence, the sudden silence, it felt worse than the chase. "Who are they?" she demanded, her voice barely a whisper. "Collectors," Tomás said, his tone grim. He didn't move, just watched the approaching figures with a chilling stillness. "They find things. Take them." One of the figures turned its head, a mask-like face illuminated briefly by a flickering gas lamp. Its eyes, deep-set and luminous, fixed on Quinn. A slow, predatory smile stretched across its face, revealing teeth too numerous and too sharp for any human. They were coming for her.
created_at"2026-02-25T01:15:28.547Z" 2/25/2026, 1:15:28 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1720
moderation_latency(null)
generation_time20505
tokens_prompt4663
tokens_completion3647
native_tokens_prompt4507
native_tokens_completion3977
native_tokens_completion_images0
native_tokens_reasoning1438
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"
usage0.0112946
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency1720
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771982128-cDf6CV7v1yLXqS8XOU24"
upstream_id(null)
total_cost0.0112946
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
totalTags21
adverbTagCount2
adverbTags
0"Her hand closed around [around]"
1"He gestured vaguely [vaguely]"
dialogueSentences45
tagDensity0.467
leniency0.933
rawRatio0.095
effectiveRatio0.089
83.95% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1869
totalAiIsmAdverbs6
found
0
adverb"slightly"
count2
1
adverb"cautiously"
count1
2
adverb"truly"
count2
3
adverb"slowly"
count1
highlights
0"slightly"
1"cautiously"
2"truly"
3"slowly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
19.74% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1869
totalAiIsms30
found
0
word"tracing"
count1
1
word"pounding"
count1
2
word"fleeting"
count1
3
word"churning"
count1
4
word"pulse"
count2
5
word"scanning"
count1
6
word"echoing"
count3
7
word"flicker"
count2
8
word"familiar"
count1
9
word"maw"
count1
10
word"echoed"
count1
11
word"gloom"
count1
12
word"pulsed"
count1
13
word"constructed"
count1
14
word"cacophony"
count1
15
word"apprehension"
count1
16
word"navigating"
count1
17
word"flickered"
count1
18
word"gleaming"
count1
19
word"amidst"
count1
20
word"glinting"
count1
21
word"intensity"
count1
22
word"whisper"
count2
23
word"silence"
count1
24
word"chilling"
count1
highlights
0"tracing"
1"pounding"
2"fleeting"
3"churning"
4"pulse"
5"scanning"
6"echoing"
7"flicker"
8"familiar"
9"maw"
10"echoed"
11"gloom"
12"pulsed"
13"constructed"
14"cacophony"
15"apprehension"
16"navigating"
17"flickered"
18"gleaming"
19"amidst"
20"glinting"
21"intensity"
22"whisper"
23"silence"
24"chilling"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences128
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences128
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
94.25% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences150
gibberishSentences2
adjustedGibberishSentences2
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0.013
matches
0"The <location id=\"856\" name=\"The Veil Market\"/> pulsed with an unnatural vibrancy."
1"<character id=\"4417\" name=\"Tomás Herrera\"/> stood there, calm amidst the chaos, his warm brown eyes immediately fixing on her."
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords6
totalWords1872
ratio0.003
matches
0"Gone."
1"turn back"
2"is"
3"out"
4"I"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1523
uniqueNames9
maxNameDensity0.79
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
London1
Thames1
Morris1
Camden1
Tube1
Quinn12
Saint1
Christopher1
Tomás3
persons
0"Morris"
1"Camden"
2"Quinn"
3"Saint"
4"Christopher"
5"Tomás"
places
0"London"
1"Thames"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences106
glossingSentenceCount1
matches
0"looked like a pulsating organ in a jar, t"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.534
wordCount1872
matches
0"not towards her, but towards the deeper, darker passage"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences150
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean36
std28.29
cv0.786
sampleLengths
079
176
21
385
448
578
6102
721
87
9119
1043
1172
1212
1340
1410
159
1648
1721
1875
1919
2045
212
2267
2319
2421
254
2611
274
2827
2924
3051
313
3230
3311
3434
3511
3650
374
3862
3916
4034
4130
4235
4344
4446
4522
4681
4738
4810
4923
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences128
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs249
matches
0"was like swimming"
1"were weaving"
2"were coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences2
totalSentences150
ratio0.013
matches
0"Figures moved through the throngs, some distinctly human, others less so – hunched forms with too many joints, shadows that shifted in the periphery, creatures with eyes that gleamed with unnerving intelligence."
1"The small figure – her quarry – was definitely gone."
90.61% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1527
adjectiveStacks1
stackExamples
0"presentable, black medical bag"
adverbCount67
adverbRatio0.04387688277668631
lyAdverbCount29
lyAdverbRatio0.01899148657498363
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences150
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences150
mean12.48
std7.6
cv0.609
sampleLengths
010
116
215
322
416
511
613
718
819
92
1013
111
1213
1313
145
157
1619
1715
1813
1925
2014
219
225
235
246
2512
2618
2712
2820
2918
3024
3113
3217
333
3413
356
362
372
384
398
4013
413
424
4311
4417
4532
4618
4719
488
4914
56.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.38
totalSentences150
uniqueOpeners57
55.10% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences121
matches
0"Just the blurred streaks of"
1"Too small for most adults."
ratio0.017
64.63% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences121
matches
0"Her breath hitched, a ragged"
1"They were closer to the"
2"She cleared the alley mouth,"
3"She sprinted, her hand already"
4"She hurled herself forward, shoulders"
5"She landed hard on cracked"
6"She thumbed the torch on"
7"She wasn’t stupid."
8"She still didn't understand."
9"Her nose wrinkled at the"
10"She saw her quarry then,"
11"She had a job to"
12"She swatted it away."
13"His breath carried the odour"
14"Her voice, low and steady,"
15"He snarled, stepping closer, his"
16"Her hand closed around the"
17"He hesitated, then a slow"
18"he drawled, stepping aside with"
19"She caught a glimpse, a"
ratio0.388
21.98% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount106
totalSentences121
matches
0"Her breath hitched, a ragged"
1"The alley reeked of stale"
2"Each stride jarred her bones,"
3"Rain plastered her closely cropped"
4"The shadow ahead, a fleeting"
5"Quinn swore under her breath,"
6"They were closer to the"
7"She cleared the alley mouth,"
8"A flicker near a recessed"
9"A small, dark figure, hunched,"
10"She sprinted, her hand already"
11"The gap seemed to shrink"
12"She hurled herself forward, shoulders"
13"She landed hard on cracked"
14"The narrow passage stretched into"
15"The clatter of feet ahead"
16"This was a bad idea."
17"Every instinct screamed *turn back*."
18"She thumbed the torch on"
19"Water dripped from unseen cracks"
ratio0.876
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences121
matches
0"Before she could round the"
1"Just as Tomás said."
2"Before she could question him,"
ratio0.025
88.74% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount5
matches
0"Rain plastered her closely cropped salt-and-pepper hair to her scalp, rivers of cold water tracing paths down her face, mingling with sweat."
1"She cleared the alley mouth, skidding slightly on a greasy patch of pavement, her eyes scanning the empty thoroughfare."
2"Figures moved through the throngs, some distinctly human, others less so – hunched forms with too many joints, shadows that shifted in the periphery, creatures …"
3"The crowd was thick, their bodies pressing in, brushing against her, some too cold, some strangely hot."
4"Quinn pushed past him, her gaze cutting through the crowd, searching for the small figure."
5.95% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount5
matches
0"She kept, her pulse still hammering from the chase"
1"she retorted, attempting to move around him"
2"she said, her eyes flicking past him again"
3"she demanded, her voice barely a whisper"
4"Tomás said, his tone grim"
83.33% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"he drawled (drawl)"
1"she retorted (retort)"
2"she demanded (demand)"
dialogueSentences45
tagDensity0.111
leniency0.222
rawRatio0.6
effectiveRatio0.133
85.4986%