Run: 2026-03-11-01KKFCE6YBNPBJPB46H7XXP1A6

Run Details

Duration:
57.3s
Cost:
$0.000929
Provider:
DeepInfra

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The iron latch rattled as she forced it open. A burst of stale air rushed past, carrying the faint scent of copper and old stone. Inside, the abandoned Tube platform stretched into gloom, arches of cracked brick framing a cavern that should have been empty. Harlow’s boots thudded on the cracked concrete, each step echoing louder than the last. A thin beam of light from her headlamp fell on a shape sprawled near the far wall. A body lay twisted, limbs splayed, a dark stain spreading across the floorboards. A single object lay beside the head—a small brass compass, its surface etched with curling protective sigils, patina of verdigris gleaming like old blood. Eva knelt beside it, fingers trembling as she brushed away dust. Round glasses caught the beam and threw specks of green across the walls. Her red curls hung in tangled wisps, and she tucked a stray lock behind her left ear, a nervous habit that never quite left. “Looks like a ritual gone wrong,” Eva murmured, voice low, filtered through the hiss of distant water dripping somewhere unseen. “Ritual or something else?” Harlow’s tone clipped, a habit forged from eighteen years of police discipline. She crouched, eyes scanning the corpse, the way the victim’s jacket hung loose over a thin frame, the way the wound at the throat was too clean, too precise to be a struggle. “Eva, what have we got?” Harlow asked, gesturing to the compass. “The market never trades without a token,” Eva replied, holding the compass up. “A bone, a whisper of a signature. Without it, you can’t barter, can’t enter. This—” She turned it over, the needle trembling, pointing inland rather than outward, “—this points back, toward the surface. It’s… inverted.” Harlow lifted the compass, feeling the weight of the brass, the coolness of the metal against her palm. “It should point to a rift, not away from one. Something’s pulling the energy the other way.” She turned the compass, watching the needle spin uneasy, then settle, as if indecisive. “The Veil Market moves with the full moon,” Eva whispered, eyes narrowing. “Every lunar cycle, the market drifts, reshapes, hides. If someone’s used it as a crime scene, they’ll want it to look like a random gathering, not a targeted hit. They’d leave a token that misleads.” Harlow’s jaw tightened, a sharp line cutting through the pale skin of her face. “Who’d benefit from a misdirection? And why the body here, not somewhere else?” She brushed a finger over the wound, feeling the slickness of dried blood. Eva’s satchel rustled as she opened it, pulling out a battered leather notebook. “He—” She hesitated, eyes flicking to the corpse’s face, “—was a dealer. Named Milo Devereaux. He specialised in banned alchemical substances. He had a reputation for…” She swallowed, “…for disappearing when the market shifted. He always knew when to leave.” Harlow’s eyes narrowed, focusing on the pattern of blood spatter that seemed to form a spiral on the concrete. “This isn’t random. It’s methodical, purposeful. Whoever did this wanted us to think it was a simple robbery.” A sudden click echoed from the far end of the platform, metallic and resonant. The compass needle quivered, then steadied, pointing directly at a rusted grate half hidden behind a collapsed stall. “Hold,” Harlow whispered, stepping forward. She pressed her palm against the cold metal, feeling vibrations that seemed to pulse from within. The crate beyond shuddered, a low hum thrumming through the floor, like a heartbeat of something alive. Eva’s breath caught, “You think there’s more than this corpse?” Harlow’s gaze never left the grate. “There’s always more than what meets the eye. Look.” She lifted a foot, kicking aside a broken bottle, and noticed fresh footprints—small, deliberate prints leading from the body toward the grate, then vanishing as if the floor had swallowed them. “The prints,” Harlow said, “are too uniform. Someone wore shoes that left a pattern similar to a child’s boot, but they’re larger, deeper. Someone walked here after the body fell.” Eva traced the prints with a finger, her nail catching on a sliver of bone. “There’s a token. A shard of bone, maybe part of a left hand. It’s tucked under that stone.” She pointed, and Harlow saw a jagged fragment half-buried beneath a fallen brick, etched with the same sigil as the compass. “Someone placed it there deliberately,” Harlow murmured, “to lure us in.” A sudden rustle erupted from the shadows beyond the grate. A figure stepped forward, silhouette framed by a flickering bulb that sputtered to life. Cloak billowed, eyes gleaming with a cold, calculated light. “Detective Quinn,” the figure intoned, voice smooth as polished stone, “I’ve been expecting you.” Eva’s grip tightened, clutching the hem of her satchel. “Who are you?” The stranger smiled, revealing teeth that seemed too sharp, too white. “Name’s Victor Hale, a… collector of curiosities.” He lifted a gloved hand, revealing a pendant that matched the sigil on the compass. “Your little friend here,” he gestured to the compass, “belongs to me now. And this body—” He glanced at the corpse, “—was merely a placeholder.” Harlow’s mind raced, cataloguing possibilities, the weight of the bone shard in her other hand. “You’re playing a dangerous game, Victor. We’re not here to barter.” Victor’s eyes flicked to the compass, then to the body. “Everyone has a price, Detective. Mine just happens to be… higher.” He raised his hand, and the air seemed to thicken, a pressure building like a storm before a flash. Eva gasped, stepping back, her satchel slipping from her shoulder, spilling a cascade of parchment and ancient receipts onto the floor. One sheet fluttered open, displaying a hand-drawn map of the market, lines crossing like veins. The compass needle spun wildly now, whirring louder than the hum from the grate, as if reacting to the unseen force Victor wielded. The light from the bulb surged, casting elongated shadows that danced across the walls. “Do you feel that?” Victor whispered, almost delighted. “The market breathes, and it’s hungry.” Harlow raised her hand, fingers flexing around the bone shard, feeling its cool edge bite into her skin. “You won’t get away with this,” she snarled, voice steady, the weight of years of loss pressing against the present. A sudden clang reverberated as the grate slammed shut, sealing Victor inside, the sound echoing like a gunshot. The compass clattered to the floor, its needle snapping off and landing at Harlow’s feet, pointing straight at the dark mouth of an unseen tunnel. Eva stared at the open shaft, mouth dry, eyes widening. “That… that wasn’t there before.” Harlow stared at the impenetrable darkness beyond the grate, the faint thrum of an unseen mechanism humming beneath the concrete. The pulse quickened, her heart thudding against her ribs, her breath forming a cloud in the stale air. The body on the floor twitched, a faint gasp escaping its lips, the eyes opening just enough to glare with a feral light. “The… the dead aren’t supposed to talk,” Harlow whispered, stepping back, hand hovering near her sidearm. Victor’s voice rang out from the darkness, low and amused, “No, but they can bargain.” The grin on the corpse’s lips widened, revealing teeth stained crimson, as it lifted a hand and pointed not at Harlow, but at the tunnel that now yawned before them. The air crackled, a low growl rising from the depths, and the ground beneath Harlow’s boots shivered, as if the market itself was ready to move.
created_at"2026-03-11T21:21:56.712Z" 3/11/2026, 9:21:56 PM
model"nvidia/nemotron-3-nano-30b-a3b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency646
moderation_latency(null)
generation_time57120
tokens_prompt4671
tokens_completion4032
native_tokens_prompt4333
native_tokens_completion3561
native_tokens_completion_images(null)
native_tokens_reasoning1985
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(null)
native_finish_reason(null)
usage0.00092885
router(null)
provider_responses
0
endpoint_id"2bd3912d-8b35-4818-b873-24ccfefa6cf9"
id"chatcmpl-RBhJZCzSpwS251XP4A3KcaJo"
is_byokfalse
latency51
model_permaslug"nvidia/nemotron-3-nano-30b-a3b"
provider_name"DeepInfra"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773264116-I2DJlKRq5eeYVSCTQgrS"
upstream_id"chatcmpl-RBhJZCzSpwS251XP4A3KcaJo"
total_cost0.00092885
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount0
adverbTags(empty)
dialogueSentences29
tagDensity0.759
leniency1
rawRatio0
effectiveRatio0
96.01% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1252
totalAiIsmAdverbs1
found
0
adverb"deliberately"
count1
highlights
0"deliberately"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
0.16% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1252
totalAiIsms25
found
0
word"gloom"
count1
1
word"echoing"
count2
2
word"etched"
count2
3
word"gleaming"
count2
4
word"scanning"
count1
5
word"whisper"
count1
6
word"weight"
count3
7
word"methodical"
count1
8
word"echoed"
count1
9
word"quivered"
count1
10
word"pulse"
count2
11
word"traced"
count1
12
word"calculated"
count1
13
word"raced"
count1
14
word"flicked"
count1
15
word"fluttered"
count1
16
word"reverberated"
count1
17
word"quickened"
count1
18
word"depths"
count1
highlights
0"gloom"
1"echoing"
2"etched"
3"gleaming"
4"scanning"
5"whisper"
6"weight"
7"methodical"
8"echoed"
9"quivered"
10"pulse"
11"traced"
12"calculated"
13"raced"
14"flicked"
15"fluttered"
16"reverberated"
17"quickened"
18"depths"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences64
matches(empty)
53.57% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences64
filterMatches(empty)
hedgeMatches
0"seemed 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
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1250
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
52.81% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions34
wordCount926
uniqueNames4
maxNameDensity1.94
worstName"Harlow"
maxWindowNameDensity3
worstWindowName"Harlow"
discoveredNames
Tube1
Harlow18
Eva10
Victor5
persons
0"Harlow"
1"Eva"
2"Victor"
places(empty)
globalScore0.528
windowScore0.667
20.69% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount3
matches
0"spatter that seemed to form a spiral on the concrete"
1"vibrations that seemed to pulse from within"
2"as if reacting to the unseen force Victor wielded"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.8
wordCount1250
matches
0"not at Harlow, but at the tunnel"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences71
matches(empty)
86.02% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs38
mean32.89
std14.84
cv0.451
sampleLengths
059
154
248
320
449
511
648
749
847
940
1053
1137
1232
1338
1410
1515
1631
1730
1854
1911
2033
2114
2212
2358
2426
2540
2636
2737
2814
2938
3043
3115
3238
3323
3416
3515
3630
3726
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences64
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs173
matches(empty)
62.37% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences71
ratio0.028
matches
0"A single object lay beside the head—a small brass compass, its surface etched with curling protective sigils, patina of verdigris gleaming like old blood."
1"She lifted a foot, kicking aside a broken bottle, and noticed fresh footprints—small, deliberate prints leading from the body toward the grate, then vanishing as if the floor had swallowed them."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount930
adjectiveStacks0
stackExamples(empty)
adverbCount21
adverbRatio0.02258064516129032
lyAdverbCount2
lyAdverbRatio0.002150537634408602
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
mean17.61
std8.34
cv0.474
sampleLengths
09
116
220
314
417
513
624
711
813
924
1020
1116
1233
1311
1413
1535
1618
1731
1812
1935
2014
2126
2213
2340
2419
2518
2614
2718
285
2916
3017
3110
326
339
3431
3530
3615
3739
3811
3910
4014
419
4214
439
443
4511
4622
4725
4815
4911
55.87% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.39436619718309857
totalSentences71
uniqueOpeners28
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences62
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount13
totalSentences62
matches
0"Her red curls hung in"
1"She crouched, eyes scanning the"
2"She turned it over, the"
3"She turned the compass, watching"
4"She brushed a finger over"
5"She hesitated, eyes flicking to"
6"She pressed her palm against"
7"She lifted a foot, kicking"
8"She pointed, and Harlow saw"
9"He lifted a gloved hand,"
10"he gestured to the compass,"
11"He raised his hand, and"
12"she snarled, voice steady, the"
ratio0.21
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount59
totalSentences62
matches
0"The iron latch rattled as"
1"A burst of stale air"
2"Harlow’s boots thudded on the"
3"A thin beam of light"
4"A body lay twisted, limbs"
5"A single object lay beside"
6"Eva knelt beside it, fingers"
7"Her red curls hung in"
8"Eva murmured, voice low, filtered"
9"Harlow’s tone clipped, a habit"
10"She crouched, eyes scanning the"
11"Harlow asked, gesturing to the"
12"Eva replied, holding the compass"
13"She turned it over, the"
14"Harlow lifted the compass, feeling"
15"She turned the compass, watching"
16"Eva whispered, eyes narrowing"
17"Harlow’s jaw tightened, a sharp"
18"She brushed a finger over"
19"Eva’s satchel rustled as she"
ratio0.952
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences62
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount10
matches
0"Inside, the abandoned Tube platform stretched into gloom, arches of cracked brick framing a cavern that should have been empty."
1"She pressed her palm against the cold metal, feeling vibrations that seemed to pulse from within."
2"She lifted a foot, kicking aside a broken bottle, and noticed fresh footprints—small, deliberate prints leading from the body toward the grate, then vanishing a…"
3"A figure stepped forward, silhouette framed by a flickering bulb that sputtered to life."
4"The stranger smiled, revealing teeth that seemed too sharp, too white."
5"Eva gasped, stepping back, her satchel slipping from her shoulder, spilling a cascade of parchment and ancient receipts onto the floor."
6"The compass needle spun wildly now, whirring louder than the hum from the grate, as if reacting to the unseen force Victor wielded."
7"The compass clattered to the floor, its needle snapping off and landing at Harlow’s feet, pointing straight at the dark mouth of an unseen tunnel."
8"The pulse quickened, her heart thudding against her ribs, her breath forming a cloud in the stale air."
9"The air crackled, a low growl rising from the depths, and the ground beneath Harlow’s boots shivered, as if the market itself was ready to move."
11.36% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount5
matches
0"Harlow’s tone clipped, a habit forged from eighteen years of police discipline"
1"Eva whispered, eyes narrowing"
2"She hesitated, eyes flicking to the corpse’s face,"
3"the figure intoned, voice smooth as polished stone,"
4"He raised, and the air seemed to thicken, a pressure building like a storm before a flash"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount7
fancyTags
0"Eva murmured (murmur)"
1"Eva whispered (whisper)"
2"Harlow whispered (whisper)"
3"Harlow murmured (murmur)"
4"Victor whispered (whisper)"
5"she snarled (snarl)"
6"Harlow whispered (whisper)"
dialogueSentences29
tagDensity0.345
leniency0.69
rawRatio0.7
effectiveRatio0.483
67.9619%