Run: 2026-03-03-01KJTZRXPETSZWCDB2X1R4NZ0Z

Run Details

Duration:
4m 47s
Cost:
$0.004658
Provider:
Seed

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
Rain slams into Harlow’s face as she rounds the corner of Camden High Street, salt-and-pepper cropped hair plastered to her sharp jaw. Her left wrist’s worn leather watch ticks loud enough to cut through the drumming of downpour on awnings, the steady rhythm a reminder of the 18 years of military precision she’d brought to every shift, every stakeout, every chase. The suspect’s scuffed combat boots hit the wet cobblestones ten paces ahead, his black hoodie pulled low, rain seeping through the fabric at the elbows to expose a faded clique tattoo on his bicep—three ravens circling a broken compass, the same marking she’d photographed outside the Raven’s Nest three nights prior. She’d been staking out the Soho bar for two hours, the green neon sign glowing through the fog half a block back, when he’d slipped out the rear fire escape and flagged down a black cab. She’d chased the cab through the rain for three miles, until the driver had swerved into a narrow alley off Camden High Street and bolted on foot. She dodges a stack of waterlogged cardboard dumpsters, boots slipping on a puddle of rain and grease that splatters up her trouser legs. The suspect ducks into the alley’s narrow mouth, and she follows, the smell of mildew and stale beer clinging to the brick walls. At the end of the alley, a rusted metal grate covers a narrow staircase leading down into the pavement, covered in tags and graffiti that read Veil Market and No Coppers. The suspect fumbles with a small, polished object in his palm—bone, she realizes, when a flash of streetlight glints off it, ivory stained dark at the edges. He taps the grate three times with the token, and the metal rumbles, sliding sideways into the brickwork to reveal a stone staircase spiraling down into darkness. A faint, warm breeze wafts up from below, carrying the smell of sage, burnt sugar, and something sharp, like fermented fruit. Distant chatter filters up, voices that rise and fall in a lilt she doesn’t recognize, followed by the clink of glass bottles and a soft, thrumming hum that makes her fillings ache. She freezes, hand dipping to the taser strapped to her belt, then to her radio tucked in her coat pocket. The radio crackles when she presses the talk button, only static. Underground, the signal dies. She checks her watch: 1:17 AM. Backup is twenty minutes away, minimum. If she waits, the suspect will vanish into whatever is down those stairs. If she follows, she’s walking into an unknown space, marked No Coppers, guarded by a bone token that unlocks a hidden grate. She thinks of DS Morris, three years prior, the strange symbols scrawled on the warehouse wall where he’d been taken, the black smoke that coiled around his ankles before she could reach him. She’d spent every day since then chasing leads that went nowhere, until this clique, until the Raven’s Nest, until this staircase. The chatter from below grows louder, more distinct, and she hears a laugh, deep and rough, followed by the clatter of a metal tray being set down. The suspect glances back over his shoulder, eyes narrowing when he spots her, and he shouts something in rapid, guttural tones before turning and bounding down the stairs, his boots echoing off the stone. Harlow shifts her weight, military posture, and takes a single step towards the grate. Her leather watch ticks again, loud in the quiet alley. She’d broken every rule in the Met handbook before, to get close to whatever had killed her partner. This is no different. She steps onto the first stone step, the damp cold seeping through her boots, and the grate behind her clicks shut with a sharp, final lock. She freezes, hand flying to her hip where her service weapon is holstered, but the grate is solid brick and metal now, no way to open it without the bone token. Below her, the thrumming hum grows louder, and the air warms, wrapping around her like a blanket. She descends the staircase slowly, each step creaking under her weight. When she reaches the bottom, she finds herself in a large, vaulted brick chamber, strung with fairy lights that cast a soft gold glow over the stalls lined up on both sides. The stalls are covered with tattered cloths, displaying things that make her stomach twist: jars of iridescent insects with wings that glow blue, vials of luminous green liquid swirling inside them, a taxidermied raven with eyes that seem to follow her as she steps into the room. A dozen people mill between the stalls, some with skin the color of storm clouds, others with pointed teeth poking over their lower lips, one with a bushy tail wrapped tight around their ankle. The suspect from the alley leans against a stall at the far end, talking to a man with a silver beard and curled horns protruding from his forehead, handing over a thick envelope of cash. A voice cuts through the chatter, calm and accented with the lilt of Seville, Spain, and Harlow’s head snaps towards the sound. A man steps out from behind a stall nearest to her, wearing a stained grey scrub top, a small Saint Christopher medallion glinting against his olive skin. A thin, silvery scar runs along his left forearm, visible when he reaches up to scratch the back of his neck. It’s the same scar she’d seen on the paramedic who’d treated a stab victim outside the Raven’s Nest last month, the one who’d vanished before she could question him. “You shouldn’t be down here, Detective.” Harlow’s jaw tightens, and she shifts her stance, keeping her eyes fixed on the man with the horns as she speaks. “You work with them.” The man nods, not denying it, and his warm brown eyes go soft for a split second before hardening. “I patch them up. That’s all. Nothing more, nothing less.” “What’s this place?” “The Veil Market.” The name clicks in Harlow’s head, the same name that had been scribbled in the margins of Morris’ final case file, the file that had been marked top secret and then disappeared from her desk three days prior. Someone had been covering this up, right under her nose. “What do they sell here?” “Things the Met doesn’t want on the streets.” The man nods towards the suspect, who’s now slipping a small, glowing vial into his coat pocket. “Enchanted weapons, banned alchemicals, information. That boy just bought a luck charm. He’s been robbing the Mayfair boutiques for the past six weeks.” Harlow’s blood runs cold. She’d been investigating those robberies for months, writing off the crew as a bunch of petty thieves with inside information, never suspecting they’d been using supernatural charms. And Morris’ death—this is exactly what he’d been investigating before he was taken. “Why didn’t you come to the police?” The man snorts, a dry, sharp sound that carries over the chatter of the market. “Because the police would shoot first and ask questions later. You’re the only detective who’s even come close to figuring this out.” He nods towards her left wrist, and Harlow glances down at her leather watch, the same watch Morris had given her for her 38th birthday, the week before he died. She’d never taken it off, even when the brass had started to tarnish, even when the leather strap had frayed at the edges. “I’ve been watching you, Quinn. You haven’t slept more than four hours a night in three years.” Harlow’s grip on her service weapon tightens, the cool metal pressing into her palm. She hadn’t realized anyone had been paying that much attention. “Who are you?” “Tomás.” He nods at the scar on his forearm, then at the medallion around his neck. “Former paramedic. Lost my license for stitching up a werewolf who’d been beaten by coppers.” “I need to arrest them,” Harlow says, nodding towards the suspect and the horned man, who’s now reaching under his stall for something that glints in the fairy light. Tomás shakes his head, and his eyes dart quickly towards the stall where the horned man stands. “You can’t. Not down here. The rules don’t apply here. And if you try, they’ll kill you before you can pull your gun.” Harlow’s gaze flickers to the horned man, who’s now pulling a large, serrated knife from under his stall, the blade glowing with the same faint blue light as the vial the suspect had just bought. The suspect points directly at Harlow, yelling something in guttural, hissing tones, and the crowd around the stalls goes silent, the chatter cutting off like someone flipped a switch. A few of the fae-like figures step back, their hands moving towards the weapons tucked under their own stalls. Tomás steps in front of Harlow, his own hands empty, but his posture tense, ready to move. Harlow’s watch ticks once, loud in the sudden quiet, and she knows there’s no turning back now.
created_at"2026-03-03T23:15:47.567Z" 3/3/2026, 11:15:47 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency8853
moderation_latency(null)
generation_time287122
tokens_prompt4663
tokens_completion11876
native_tokens_prompt4541
native_tokens_completion10509
native_tokens_completion_images(null)
native_tokens_reasoning8546
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"
usage0.0046577
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772579748078a2f4933af3443b601e52f5659e0d958f8c9a82"
is_byokfalse
latency8853
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772579747-GBxok9XJN3phpv4Zyhwy"
upstream_id"021772579748078a2f4933af3443b601e52f5659e0d958f8c9a82"
total_cost0.0046577
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences16
tagDensity0.313
leniency0.625
rawRatio0
effectiveRatio0
93.36% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1506
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"quickly"
count1
highlights
0"slowly"
1"quickly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
70.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1506
totalAiIsms9
found
0
word"reminder"
count1
1
word"lilt"
count2
2
word"echoing"
count1
3
word"weight"
count2
4
word"stomach"
count1
5
word"glinting"
count1
6
word"charm"
count1
highlights
0"reminder"
1"lilt"
2"echoing"
3"weight"
4"stomach"
5"glinting"
6"charm"
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
narrationSentences60
matches(empty)
0.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount5
hedgeCount2
narrationSentences60
filterMatches
0"watch"
hedgeMatches
0"seem to"
1"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences71
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen52
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1503
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1315
uniqueNames17
maxNameDensity0.99
worstName"Harlow"
maxWindowNameDensity3
worstWindowName"Harlow"
discoveredNames
Harlow13
Camden2
High2
Street2
Raven3
Nest3
Soho1
Veil1
Market1
Coppers2
Morris2
Met1
Seville1
Spain1
Saint1
Christopher1
Tomás2
persons
0"Harlow"
1"Coppers"
2"Morris"
3"Saint"
4"Christopher"
5"Tomás"
places
0"Camden"
1"High"
2"Street"
3"Soho"
4"Met"
5"Seville"
6"Spain"
globalScore1
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences56
glossingSentenceCount1
matches
0"eyes that seem to follow her as she steps into the room"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1503
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences71
matches
0"paying that much"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs25
mean60.12
std46.4
cv0.772
sampleLengths
0175
1131
288
3101
461
546
674
7159
899
96
1025
1129
123
1351
145
1548
1644
177
18107
1927
2031
2129
2240
2383
2434
93.57% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences60
matches
0"been taken"
1"been scribbled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs205
matches(empty)
62.37% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences71
ratio0.028
matches
0"The suspect’s scuffed combat boots hit the wet cobblestones ten paces ahead, his black hoodie pulled low, rain seeping through the fabric at the elbows to expose a faded clique tattoo on his bicep—three ravens circling a broken compass, the same marking she’d photographed outside the Raven’s Nest three nights prior."
1"The suspect fumbles with a small, polished object in his palm—bone, she realizes, when a flash of streetlight glints off it, ivory stained dark at the edges."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1103
adjectiveStacks0
stackExamples(empty)
adverbCount18
adverbRatio0.016319129646418858
lyAdverbCount4
lyAdverbRatio0.003626473254759746
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences71
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences71
mean21.17
std11.45
cv0.541
sampleLengths
022
139
251
336
427
523
623
731
827
927
1021
1132
1220
1311
144
156
166
1713
1822
1933
2021
2127
2234
2314
2410
2518
264
2726
2831
2917
3011
3132
3247
3334
3435
3522
3627
3721
3829
396
4021
414
4219
4310
443
4541
4610
475
4825
4923
54.46% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.39436619718309857
totalSentences71
uniqueOpeners28
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences59
matches(empty)
ratio0
84.41% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount20
totalSentences59
matches
0"Her left wrist’s worn leather"
1"She’d been staking out the"
2"She’d chased the cab through"
3"She dodges a stack of"
4"He taps the grate three"
5"She freezes, hand dipping to"
6"She checks her watch: 1:17"
7"She thinks of DS Morris,"
8"She’d spent every day since"
9"Her leather watch ticks again,"
10"She’d broken every rule in"
11"She steps onto the first"
12"She freezes, hand flying to"
13"She descends the staircase slowly,"
14"It’s the same scar she’d"
15"She’d been investigating those robberies"
16"He nods towards her left"
17"She’d never taken it off,"
18"She hadn’t realized anyone had"
19"He nods at the scar"
ratio0.339
27.80% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount51
totalSentences59
matches
0"Rain slams into Harlow’s face"
1"Her left wrist’s worn leather"
2"The suspect’s scuffed combat boots"
3"She’d been staking out the"
4"She’d chased the cab through"
5"She dodges a stack of"
6"The suspect ducks into the"
7"The suspect fumbles with a"
8"He taps the grate three"
9"A faint, warm breeze wafts"
10"She freezes, hand dipping to"
11"The radio crackles when she"
12"She checks her watch: 1:17"
13"Backup is twenty minutes away,"
14"She thinks of DS Morris,"
15"She’d spent every day since"
16"The chatter from below grows"
17"The suspect glances back over"
18"Harlow shifts her weight, military"
19"Her leather watch ticks again,"
ratio0.864
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences59
matches
0"If she waits, the suspect"
1"If she follows, she’s walking"
ratio0.034
40.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount7
matches
0"She dodges a stack of waterlogged cardboard dumpsters, boots slipping on a puddle of rain and grease that splatters up her trouser legs."
1"Distant chatter filters up, voices that rise and fall in a lilt she doesn’t recognize, followed by the clink of glass bottles and a soft, thrumming hum that mak…"
2"She thinks of DS Morris, three years prior, the strange symbols scrawled on the warehouse wall where he’d been taken, the black smoke that coiled around his ank…"
3"The suspect glances back over his shoulder, eyes narrowing when he spots her, and he shouts something in rapid, guttural tones before turning and bounding down …"
4"The stalls are covered with tattered cloths, displaying things that make her stomach twist: jars of iridescent insects with wings that glow blue, vials of lumin…"
5"The suspect from the alley leans against a stall at the far end, talking to a man with a silver beard and curled horns protruding from his forehead, handing ove…"
6"Harlow’s gaze flickers to the horned man, who’s now pulling a large, serrated knife from under his stall, the blade glowing with the same faint blue light as th…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences16
tagDensity0.063
leniency0.125
rawRatio0
effectiveRatio0
83.1189%