Run: 2026-03-03-01KJTZT4Q3Y7P34EHCE2K0K2P5

Run Details

Duration:
10.9s
Cost:
$0.004655
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
"Stay with him," Harlow hissed into her shoulder mic, her boots striking the brutalist pavement with military rhythm. Ahead, the shadow blurred, a frantic silhouette cutting through the dense London fog. Tomás Herrera didn't look back. He sprinted, his breath ragged, the Saint Christopher medallion jumping against his windbreaker with every desperate stride. He hit the corner of Camden High Street, his gait uneven, favouring the left side where the old knife wound still gave him grief when the pressure dropped. Harlow didn't need the radio confirm. She had him. She accelerated, her salt-and-pepper hair plastered to her forehead, the worn leather watch on her wrist a steady, mocking pulse against her skin. She had chased shadows for eighteen years, seen the city bleed, but this jogger smelled of something sterile, something illicit. Something that belonged in a tomb, not a hospital. "Herrera! Stop!" He didn't stop. He vaulted a discarded bin, the metal screeching as it tipped, and skidded into the maw of an abandoned Tube station entrance. The air shifted as she neared the stairs. The smell of wet rot and ozone hit her. Gone was the city's gasoline tang, replaced by the cloying, sweet stench of alchemy and stagnant deep-earth minerals. She skidded to a halt at the top of the stairwell, her hand dropping instinctively to her holster. The light from the street lamp overhead fought a losing battle with the encroaching dark below. Steps descended into a belly of rusted iron and shattered tile. She pulled her torch, the beam cutting a violent path through the gloom. Dust motes danced like ghosts in the periphery. This was the Veil Market in its migratory state, a shifting, living organism of a bazaar hidden beneath the city’s crust. "I know you're down there, Tomás," she called out, her voice hard, echoing off the slick, grime-coated walls. A soft chuckle drifted up from the bowels of the station. "Detective Quinn," the voice replied, distorted by the weird acoustics of the cavernous platform. "You're a long way from the station. The brass won't like you stepping into the basement of civilization." "I don't care about their opinions. I care about your ledger." She descended, her footsteps calculated. The walls grew cooler, weeping moisture that left black streaks like tears on the ancient advertisements for long-forgotten cigarettes. She bypassed a turnstile that hummed with a low, thrumming vibration, a sound that made the hair on her arms stand up. Below, the market awaited. It wasn't just a place. It was a bruise on the city. She spotted him near a kiosk selling vials of shimmering, violet liquid that hissed when the wind touched them. Tomás stood there, his back to a pillar, his olive skin pale against the darkness. He held a bone token, carved from something that looked remarkably like a human knuckle, and he tapped it rhythmically against the stone. "You're out of your depth, Harlow," he said, not facing her. "I’m the one with the badge." "You're the one with the ignorance. That’s a dangerous cocktail in a place that trades in memories." He tossed the token. It spun in the air, a white flash, and struck the base of a nearby archway. The stone began to glow with a sickly, pale yellow light. The space between the pillars rippled, the air turning thick and viscous like oil. "Walk away," he urged, his hands trembling slightly. "The last detective who followed me... did you ever wonder why your partner’s file is empty?" Harlow stopped. The name hung in the air, heavier than the oppressive humidity. "You don't get to use Morris. You don't have that right." "I didn't use him. I tried to save him. There's a difference." She closed the distance, her grip on the torch tight enough to turn her knuckles white. "Explain." "I can't. The moment you cross that threshold, you're not a cop anymore. You're bait." He turned to face her, his eyes wide and dark, reflecting the erratic flickering of an alchemical lamp nearby. "The Raven's Nest is a playpen compared to this. Here, the laws of physics are mere suggestions." She measured him. He was afraid, but not of her. He looked past her, toward the tunnel entrance, where an unnatural, rhythmic thumping began to grow. *Thump-squelch. Thump-squelch.* "What's coming?" she asked. "Something that doesn't recognize jurisdiction." Harlow shifted her stance. She felt the weight of the handgun at her hip, a comforting, heavy steel companion. She had followed him for the truth, and the truth felt like cold water being poured down her spine. The market around them seemed to lean in, as if the very stalls and shadows were hungry, watching the interaction with a predatory interest. A merchant, buried beneath a hood of heavy, dark wool, clicked their teeth together like snapping dry twigs. "I’m not leaving without you, Tomás." "Then you're dying with me." A shadow peeled itself away from the wall behind him, taller than a man, its movements fluid and wrong. It didn't walk so much as flow across the tiles. It held a weapon, a serrated blade made of jagged obsidian that caught the yellow light and twisted it into something jagged and sharp. Harlow raised her weapon, her target acquired, her breathing steady. The creature paused, catching the scent of her. She saw its face, or the lack thereof—a smooth parchment of skin stretched over a skull that didn't belong to any known anatomy. "Tomás," she whispered, her eyes never leaving the entity. "Start talking." "It's a guard," he muttered, his voice barely audible over the growing roar of the tunnel. "And it doesn't give refunds." The creature lunged, a blur of shadow and obsidian. Harlow fired, the muzzle flash lighting the tunnel in a brief, blinding strobe. The bullet sparked against a pillar, ricocheting with a high, mournful whine. The monster didn't flinch—it vaulted over a pile of crates, its movement unnatural, predatory. Harlow dove to her left, landing hard on the damp platform, the cold seeping instantly into her knees. Dust coated her tongue. She scrambled up, catching a glimpse of Tomás ducking behind a merchant’s cart. The merchant didn't move, just sat there, a hunched, unblinking statue in a cloak of shadows. "The token!" Tomás shouted, tossing the small, carved bone toward her. "The barrier! It’s the only way to lock the gate behind us!" The creature landed where she had been standing, its blade biting deep into the concrete. Concrete chips flew like shrapnel. She lunged, snatching the bone from the grimy tiles. It felt warm, uncomfortably rhythmic to the touch, like a fading heartbeat. "There's no gate!" Harlow yelled back, her second shot snapping past the creature’s ear. "Find the arch!" She looked around. Every archway in the station looked identical, etched with complex, flowing symbols that seemed to shift and crawl when she stared too long. The thump-squelch sound grew louder, multiplied. More things were emerging. She turned back to the creature. It stood ten feet away, its head tilted, listening to her heart rate. It wasn't just searching for her; it was savouring the hunt. She stepped back, her boot hitting a loose piece of rail. She looked down, then up. The creature moved, too fast, its body elongating as it prepared to strike. Harlow stood her ground. She pulled the trigger again, the report deafening in the confined space. The creature skittered to the side, then stopped. It hissed—a sound like steam escaping a long-buried pipe. "Now, Detective," Tomás screamed from the darkness. "The arch with the spiral! Press the bone into the center!" Harlow turned, her eyes scanning the dark row of pillars. She saw it—a subtle, carved swirl in the stone that vanished every time she blinked. She moved, but the creature had anticipated the shift. It lunged, its obsidian blade swinging in a lethal arc that would have gutted her had she not dropped to the floor. The blade sang over her head, slicing through her coat. She rolled, the concrete tearing at her palms, and struck the pillar with her shoulder. She slammed the bone token into the spiral. The stone groaned. A ripple of translucent energy erupted from the wall, slamming into the creature and throwing it back into the darkness. The air began to fold in on itself, a vacuum drawing the light toward the pillar. "Move!" Tomás grabbed her arm, his fingers biting into her skin. They sprinted, the platform beneath them suddenly feeling like a ship in a storm. The archway opened, a shimmering, opaque veil of violet light that defied the surrounding filth. Beyond it, she saw a glimpse of a different sky, one with two moons hanging low over a landscape of jagged, obsidian spires. Harlow hesitated. She looked back at the station, the darkness now teaming with flickering eyes and shifting forms. She looked at Tomás, his face etched with a desperate, frantic pleading. "If we cross, there's no badge," he shouted. "There’s no law." "I'm already past the law," Harlow said. She pulled him forward, and together, they stepped through the veil. The station disappeared. The cold, sterile air vanished. Behind them, the archway shattered like thin glass, leaving them standing on a precipice overlooking a sea of black, roiling clouds that stretched to an endless, silent horizon. Below them, something massive shifted in the dark. A low, grinding sound vibrated through the rock beneath their feet, a sound not of this world. Across the chasm, the obsidian spires began to glow with a rhythmic, pulsing light. Harlow tightened her grip on her sidearm. "Tell me you know the way back." Tomás didn't speak. He stared at the horizon, his face drained of colour. Behind them, the point where the archway had been was now nothing but empty, jagged rock. Above, the twin moons pulsated in tandem, casting long, warped shadows that seemed to reach for their ankles. "Tomás," she growled, her voice hitting a sharp, dangerous edge. He pointed to the base of the spire. A figure stood there, waiting. It held a lantern, the light within it a trapped, screaming blue flame. It beckoned them forward, the motion precise and inviting. "We don't know the way back, Harlow," he whispered. "We only know the way down."
created_at"2026-03-03T23:16:27.52Z" 3/3/2026, 11:16:27 PM
model"google/gemini-3.1-flash-lite-preview-20260303"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency663
moderation_latency(null)
generation_time10768
tokens_prompt4663
tokens_completion2667
native_tokens_prompt4507
native_tokens_completion2352
native_tokens_completion_images0
native_tokens_reasoning0
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"
usage0.00465475
router(null)
provider_responses
0
endpoint_id"e004ce39-eb0c-4474-93d5-55072e725970"
is_byokfalse
latency663
model_permaslug"google/gemini-3.1-flash-lite-preview-20260303"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1772579787-fY3cIjY0UXVWzZgy1NwQ"
upstream_id(null)
total_cost0.00465475
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
totalTags17
adverbTagCount1
adverbTags
0"Harlow yelled back [back]"
dialogueSentences38
tagDensity0.447
leniency0.895
rawRatio0.059
effectiveRatio0.053
91.27% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1719
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"very"
count1
2
adverb"suddenly"
count1
highlights
0"slightly"
1"very"
2"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
38.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1719
totalAiIsms21
found
0
word"pulse"
count1
1
word"maw"
count1
2
word"shattered"
count2
3
word"gloom"
count1
4
word"echoing"
count1
5
word"footsteps"
count1
6
word"calculated"
count1
7
word"oppressive"
count1
8
word"measured"
count1
9
word"rhythmic"
count3
10
word"weight"
count1
11
word"comforting"
count1
12
word"down her spine"
count1
13
word"etched"
count2
14
word"complex"
count1
15
word"scanning"
count1
16
word"vibrated"
count1
highlights
0"pulse"
1"maw"
2"shattered"
3"gloom"
4"echoing"
5"footsteps"
6"calculated"
7"oppressive"
8"measured"
9"rhythmic"
10"weight"
11"comforting"
12"down her spine"
13"etched"
14"complex"
15"scanning"
16"vibrated"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences128
matches
0"was afraid"
53.57% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount7
narrationSentences128
filterMatches
0"watch"
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences149
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords2
totalWords1715
ratio0.001
matches
0"Thump-squelch. Thump-squelch."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions32
wordCount1472
uniqueNames13
maxNameDensity0.88
worstName"Harlow"
maxWindowNameDensity1.5
worstWindowName"Harlow"
discoveredNames
Ahead1
London1
Herrera1
Saint1
Christopher1
Camden1
High1
Street1
Tube1
Veil1
Market1
Harlow13
Tomás8
persons
0"Herrera"
1"Saint"
2"Christopher"
3"Market"
4"Harlow"
5"Tomás"
places
0"London"
1"Camden"
2"High"
3"Street"
4"Veil"
globalScore1
windowScore1
73.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences98
glossingSentenceCount3
matches
0"felt like cold water being poured down"
1"symbols that seemed to shift and crawl when she stared too long"
2"shadows that seemed to reach for their ankles"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1715
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences149
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean30.09
std20.43
cv0.679
sampleLengths
018
163
261
32
425
569
653
718
811
932
1011
1162
1257
1311
146
1517
1645
1724
1824
1912
2017
2151
2228
234
245
2580
266
275
2853
2941
3011
3121
3248
3351
3423
3541
3614
373
3836
3959
4033
4118
4266
4323
4439
4511
4652
4730
4811
497
99.78% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences128
matches
0"being poured"
1"been was"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs258
matches
0"was savouring"
1"wasn't just searching"
46.98% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount1
flaggedSentences5
totalSentences149
ratio0.034
matches
0"She saw its face, or the lack thereof—a smooth parchment of skin stretched over a skull that didn't belong to any known anatomy."
1"The monster didn't flinch—it vaulted over a pile of crates, its movement unnatural, predatory."
2"It wasn't just searching for her; it was savouring the hunt."
3"It hissed—a sound like steam escaping a long-buried pipe."
4"She saw it—a subtle, carved swirl in the stone that vanished every time she blinked."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1484
adjectiveStacks1
stackExamples
0"slick, grime-coated walls."
adverbCount34
adverbRatio0.022911051212938006
lyAdverbCount10
lyAdverbRatio0.006738544474393531
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences149
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences149
mean11.51
std6.48
cv0.563
sampleLengths
018
113
25
317
428
56
63
723
820
99
102
113
1222
138
149
1518
1618
1716
1811
1913
208
2121
2218
2311
2414
2518
2611
275
2819
2922
304
315
327
3319
3415
3523
3611
376
3817
394
4016
4111
4214
438
4416
452
4611
4711
4812
4916
34.56% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.2751677852348993
totalSentences149
uniqueOpeners41
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences120
matches(empty)
ratio0
30.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount57
totalSentences120
matches
0"He sprinted, his breath ragged,"
1"He hit the corner of"
2"She had him."
3"She accelerated, her salt-and-pepper hair"
4"She had chased shadows for"
5"He didn't stop."
6"He vaulted a discarded bin,"
7"She skidded to a halt"
8"She pulled her torch, the"
9"she called out, her voice"
10"She descended, her footsteps calculated."
11"She bypassed a turnstile that"
12"It wasn't just a place."
13"It was a bruise on"
14"She spotted him near a"
15"He held a bone token,"
16"he said, not facing her"
17"He tossed the token."
18"It spun in the air,"
19"he urged, his hands trembling"
ratio0.475
5.83% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences120
matches
0"Harlow hissed into her shoulder"
1"Tomás Herrera didn't look back."
2"He sprinted, his breath ragged,"
3"He hit the corner of"
4"Harlow didn't need the radio"
5"She had him."
6"She accelerated, her salt-and-pepper hair"
7"She had chased shadows for"
8"Something that belonged in a"
9"He didn't stop."
10"He vaulted a discarded bin,"
11"The air shifted as she"
12"The smell of wet rot"
13"She skidded to a halt"
14"The light from the street"
15"Steps descended into a belly"
16"She pulled her torch, the"
17"Dust motes danced like ghosts"
18"This was the Veil Market"
19"she called out, her voice"
ratio0.908
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences120
matches(empty)
ratio0
48.32% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences68
technicalSentenceCount9
matches
0"She bypassed a turnstile that hummed with a low, thrumming vibration, a sound that made the hair on her arms stand up."
1"She spotted him near a kiosk selling vials of shimmering, violet liquid that hissed when the wind touched them."
2"He held a bone token, carved from something that looked remarkably like a human knuckle, and he tapped it rhythmically against the stone."
3"The market around them seemed to lean in, as if the very stalls and shadows were hungry, watching the interaction with a predatory interest."
4"It held a weapon, a serrated blade made of jagged obsidian that caught the yellow light and twisted it into something jagged and sharp."
5"She saw its face, or the lack thereof—a smooth parchment of skin stretched over a skull that didn't belong to any known anatomy."
6"Every archway in the station looked identical, etched with complex, flowing symbols that seemed to shift and crawl when she stared too long."
7"The archway opened, a shimmering, opaque veil of violet light that defied the surrounding filth."
8"Behind them, the archway shattered like thin glass, leaving them standing on a precipice overlooking a sea of black, roiling clouds that stretched to an endless…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount5
matches
0"Harlow hissed, her boots striking the brutalist pavement with military rhythm"
1"she called out, her voice hard, echoing off the slick, grime-coated walls"
2"he said, not facing her"
3"he urged, his hands trembling slightly"
4"she growled, her voice hitting a sharp, dangerous edge"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount11
fancyTags
0"Harlow hissed (hiss)"
1"she called out (call out)"
2"he urged (urge)"
3"she whispered (whisper)"
4"he muttered (mutter)"
5"Tomás shouted (shout)"
6"Harlow yelled back (yell)"
7"Tomás screamed (scream)"
8"he shouted (shout)"
9"she growled (growl)"
10"he whispered (whisper)"
dialogueSentences38
tagDensity0.395
leniency0.789
rawRatio0.733
effectiveRatio0.579
70.5570%