Run: 2026-03-11-01KKFF2GJNB9RX1HE1W1K13KZY

Run Details

Duration:
52.0s
Cost:
$0.000000
Provider:
Stealth

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The suspect cut left through the alley behind Drummond Street, and Quinn's boots hammered the wet tarmac three paces behind. Rain plastered her closely cropped hair to her skull, salt-and-pepper strands whipping against her sharp jaw. She tasted iron. Her lungs burned. Her worn leather watch slapped her wrist with each stride, the buckle coming undone and flapping loose. "Don't make this worse for yourself," she shouted, but her voice died beneath the hammering downpour and the distant wail of a siren from somewhere behind them on Euston Road. The suspect vaulted a skip overflowing with bin bags, landed on a slick pile of cardboard, stumbled. Quinn closed the gap. Two metres now. She could smell their fear, that sour-sweet tang of adrenaline and old sweat. The suspect wore dark clothes, hood up, face turned away. They'd bolted the moment Quinn had stepped through the door of the coffee shop on Tottenham Court Road, recognising her, or recognising the danger she carried like a second skin. They rounded the corner onto a narrow service road that fed into the back of a row of shuttered shops. The Camden High Street neon glow pulsed against the low clouds, painting everything in sickly pinks and blues. Quinn's boots skidded on a patch of wet leaves and she threw out a hand against the brick wall to keep upright. Grit scraped her palm. The suspect glanced back. Young face, twenty-something, olive skin, short curly hair darkened by the rain. A Saint Christopher medallion caught the light, swinging wildly around his neck as he ran. Tomás Herrera. Her intelligence file had him listed as a former NHS paramedic, struck off eighteen months ago. She hadn't understood why until last week, when the surveillance photos had arrived on her desk showing Herrera emerging from Silas Abbott's bar in Soho with a bag full of something that made her skin prickle when she looked at the images too long. "Herrera," Quinn shouted, pulling her warrant card from her jacket and holding it up even though he wasn't looking. "Metropolitan Police. Stop running." He didn't stop running. He vaulted a low iron gate into what looked like a dead end, a narrow courtyard between a bookmaker's and a closed kebab shop. Quinn followed, landing hard on the other side, her knee protesting. She was forty-one now, and the body kept its own accounts. Eighteen years on the force, and her joints had memorised every punch, every fall, every sprint through rain-slicked streets. Herrera disappeared through a door she hadn't seen, a heavy steel door set into the wall at an angle that made it almost invisible. It clanged shut behind him. Quinn reached it a second later and yanked the handle. Locked. She hammered her fist against the steel. The sound echoed into whatever lay beyond, metallic and final. She stepped back, scanning. No other exit from the courtyard. No fire escape. No windows low enough. The door was the only way in, and Herrera had vanished through it like smoke. Her radio crackled against her hip. "Quinn, you copy?" Davies' voice, tinny and distant through the static. "We've lost you on GPS. Where are you?" "Behind the shops off Plender Street." She tried the door again, pulling harder. Nothing. "Suspect went underground through a concealed entrance. I need backup and a breaching kit." "Underground? Like a basement?" "Like a tunnel." She pressed her ear to the steel. Beyond it, she could hear something, a low hum of voices, a mechanical rumble that sounded like trains but wasn't quite right. The pitch was off, too deep, as though the sound travelled through water rather than air. "Something's down here, Davies." The radio hissed. "Say again?" "I said something is down here." She checked her watch. The leather strap had finally given up. She caught the timepiece before it fell and shoved it into her pocket. 11:47 PM. "I'm going in." "Quinn, wait for the tactical unit. ETA twelve minutes." Twelve minutes. Herrera would be long gone. Twelve minutes and whatever this place was, whatever secrets it held, would scatter like roaches in light. She thought of Morris. Her partner, dead three years now, found in an alley much like this one with no marks on his body and no cause of death any coroner could explain. The file had been buried under a mountain of bureaucratic concrete, but Quinn had kept digging. Every thread she pulled led back to the same knot: Silas Abbott's circle, Herrera's off-the-books medical work, and something else, something that lived in the spaces between what she could prove and what she knew in her bones. She'd lost Morris to this. She wouldn't lose Herrera too. "Copy, Davies. Twelve minutes. Quinn out." She holstered the radio and studied the door. Military-grade steel, no visible hinges, no keypad, no lock she could pick. But the frame was old brick, Victorian era by the look of it, and Victorian brick had mortar that crumbled if you knew where to push. She crouched and ran her fingers along the base of the frame, feeling for weakness. Third brick from the left crumbled under her thumb like dry cake. She pried it free, then the one above it. A section of the frame shifted. Not enough to open the door, but enough to reveal the gap between the steel and the brickwork. She leaned in and peered through. Steps. Concrete, narrow, leading down into amber light that flickered like gas lamps but wasn't. The air that rose through the gap carried scents that didn't belong in a Camden basement, frankincense and copper and something sweet and rotten, like flowers left too long in a vase. She pulled her Glock 17 from its holster, thumbed off the safety, and wedged herself through the gap. The brick scraped her shoulders, her ribs, her hips. Pain flared along her left side, hot and immediate, but she was through, landing on the top step with her gun raised and her breathing controlled. The staircase spiralled downward. The walls were tiled in cracked white and amber, the kind of tiles she'd seen in old Tube stations, the ones they'd closed during the war and never reopened. But these weren't on any map she'd reviewed during her research into London's abandoned infrastructure. This place didn't exist. She descended. Twenty steps. Thirty. The ambient light grew warmer, denser, until she rounded the final curve and the staircase opened onto a platform. She stopped breathing. An old Tube station, but not abandoned. The platform stretched in both directions, the rails below sunk in shadow, and the space beyond where the tunnel mouth gaped was filled with people. Hundreds of them, pressed between makeshift stalls and tables that overflowed with objects Quinn's mind refused to categorise properly. Glass jars filled with luminescent liquids. Bottles labelled in scripts that predated English. Weapons that looked medieval but hummed with a low vibration she could feel in her teeth. Cages containing things she told herself were exotic animals but whose eyes tracked her with too much intelligence. The Veil Market. The intelligence had been fragmentary. Whispers from informants who went pale when they spoke of it. A handwritten note found in a dead woman's pocket that read only "bone token for entry, moves every full moon." Quinn hadn't believed it. Couldn't believe it. The Metropolitan Police didn't deal in fairy stories. She dealt in them now. A woman at the nearest stall was selling vials of something that writhed like a living thing inside its glass prison. A man with skin that seemed to shift colour under the amber light haggled over a bundle of dried herbs. Children, or what looked like children, darted between the legs of shoppers with too many fingers and too-wide smiles. Quinn stepped onto the platform. Her boots clicked against the tile. A dozen heads turned. The market noise dropped by half. She raised her badge. "Metropolitan Police. I'm looking for a man, about thirty, olive skin, curly hair, medallion around his neck. He came through here thirty seconds ago. Anyone see which way he went?" Silence. Then laughter, low and rolling, spreading through the crowd like a wave. A stallholder nearest her, a woman with silver eyes and braided hair that reached her waist, leaned across her table of bone carvings. "First timer." She said it to the man beside her, a massive figure whose shoulders brushed the curved ceiling. "She brought her badge." The big man smiled. Quinn didn't like the smile. Too many teeth, and the wrong shape. "I asked you a question," Quinn said. Her gun hung at her side, visible but not raised. She was in their territory now, outnumbered, and the tactical instinct that had kept her alive for eighteen years screamed at her to calculate, to adapt, to find the leverage. "We don't answer questions for free here, copper." The silver-eyed woman propped her chin on her hand. "That's the first rule." "I don't have your currency. I don't even know what your currency is." "Then you shouldn't have come down." The woman's gaze dropped to the gun. "And you definitely shouldn't have brought that." Quinn's finger tightened on the grip. She scanned the crowd. Herrera was here somewhere, threading through this impossible bazaar with his paramedic's bag and his Saint Christopher medallion and whatever secrets he carried for Silas Abbott's clique. She could feel the distance between herself and the truth she'd been chasing for three years closing, narrowing, becoming something she could almost touch. A commotion erupted at the far end of the platform. Shouts, the crash of something glass shattering against tile. Quinn craned her neck. Herrera. She caught a flash of dark curly hair, the glint of his medallion as he shoved through the crowd and vaulted down onto the tracks, sprinting toward the black mouth of the tunnel. "Herrera. Stop." She ran. The crowd parted for her this time, whether from respect or malice she couldn't tell and didn't care. She reached the platform edge and jumped, landing on the gravelled track bed with a jolt that shot pain up both shins. The rails gleamed dully under her feet. Behind her, someone shouted. She didn't turn. The tunnel swallowed Herrera's silhouette, then the darkness swallowed even that. Quinn stood at the threshold. The tunnel air blew against her face, cold and ancient, carrying sounds that weren't echoes of trains. She could hear something breathing down there, something vast and slow and deeply, profoundly aware of her presence. Her radio crackled. Davies' voice, faint and warped as though transmitted from another dimension. "Quinn, tactical's arriving at your last known. Where are you?" She looked down at her empty wrist where her watch had been. She looked at the darkness ahead. She thought of Morris, of his unmarked grave in Kensal Green Cemetery, of the autopsy report that listed cause of death as unknown, of the way his eyes had looked when they'd found him, open and staring at something that had stopped his heart with terror alone. Herrera had answers. This place had answers. The tunnel had answers. Quinn stepped onto the tracks and walked into the dark.
created_at"2026-03-11T22:07:59.092Z" 3/11/2026, 10:07:59 PM
model"openrouter/hunter-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1013
moderation_latency(null)
generation_time51918
tokens_prompt4663
tokens_completion3262
native_tokens_prompt4209
native_tokens_completion2712
native_tokens_completion_images(null)
native_tokens_reasoning403
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
router(null)
provider_responses(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773266879-Bt7fka8LHeiMTujBzOlX"
upstream_id"gen-1773266879-Bt7fka8LHeiMTujBzOlX"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Stealth"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags10
adverbTagCount0
adverbTags(empty)
dialogueSentences27
tagDensity0.37
leniency0.741
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1865
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
65.15% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1865
totalAiIsms13
found
0
word"pulsed"
count1
1
word"echoed"
count1
2
word"scanning"
count1
3
word"mechanical"
count1
4
word"flickered"
count1
5
word"could feel"
count2
6
word"silence"
count1
7
word"calculate"
count1
8
word"scanned"
count1
9
word"glint"
count1
10
word"echoes"
count1
11
word"grave"
count1
highlights
0"pulsed"
1"echoed"
2"scanning"
3"mechanical"
4"flickered"
5"could feel"
6"silence"
7"calculate"
8"scanned"
9"glint"
10"echoes"
11"grave"
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
emotionTells1
narrationSentences144
matches
0"t with terror"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences144
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences162
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1865
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
99.04% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1668
uniqueNames28
maxNameDensity1.02
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Drummond1
Street2
Quinn17
Euston1
Road2
Tottenham1
Court1
Camden2
High1
Saint2
Christopher2
Herrera11
Silas3
Abbott3
Soho1
Morris3
Victorian2
Glock1
Tube2
London1
English1
Veil1
Market1
Metropolitan1
Police1
Kensal1
Green1
Cemetery1
persons
0"Quinn"
1"Saint"
2"Christopher"
3"Herrera"
4"Silas"
5"Abbott"
6"Morris"
7"Police"
places
0"Drummond"
1"Street"
2"Euston"
3"Road"
4"Tottenham"
5"Court"
6"Camden"
7"High"
8"Soho"
9"London"
10"Kensal"
globalScore0.99
windowScore1
42.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount4
matches
0"looked like a dead end, a narrow courtyar"
1"sounded like trains but wasn't quite right"
2"skin that seemed to shift colour under the amber light haggled over a bundle of dried herbs"
3"looked like children, darted between the"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.536
wordCount1865
matches
0"Not enough to open the door, but enough to reveal the gap between the steel"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences162
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs53
mean35.19
std26.33
cv0.748
sampleLengths
059
130
277
364
493
523
64
765
829
928
1032
116
1219
1328
144
1552
165
1735
189
19111
2010
216
2273
2339
2447
2553
2652
2724
283
2998
303
3151
325
3360
3421
3534
3636
3723
3816
3947
4021
4113
4220
4361
4457
452
4649
4718
4840
4924
97.95% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences144
matches
0"been buried"
1"were tiled"
2"was filled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs270
matches
0"wasn't looking"
1"was selling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences162
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount623
adjectiveStacks0
stackExamples(empty)
adverbCount17
adverbRatio0.027287319422150885
lyAdverbCount7
lyAdverbRatio0.011235955056179775
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences162
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences162
mean11.51
std9.11
cv0.792
sampleLengths
020
116
23
33
417
530
617
74
83
913
1010
1130
1220
1318
1422
154
164
1712
1815
192
2016
2144
2219
234
244
2524
2611
2711
2819
2924
305
3110
321
337
3410
354
366
373
384
3915
406
4111
428
4313
441
4514
464
4710
4822
4916
54.94% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.37037037037037035
totalSentences162
uniqueOpeners60
50.89% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences131
matches
0"Then laughter, low and rolling,"
1"Too many teeth, and the"
ratio0.015
79.54% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount46
totalSentences131
matches
0"She tasted iron."
1"Her lungs burned."
2"Her worn leather watch slapped"
3"she shouted, but her voice"
4"She could smell their fear,"
5"They'd bolted the moment Quinn"
6"They rounded the corner onto"
7"Her intelligence file had him"
8"She hadn't understood why until"
9"He didn't stop running."
10"He vaulted a low iron"
11"She was forty-one now, and"
12"It clanged shut behind him."
13"She hammered her fist against"
14"She stepped back, scanning."
15"Her radio crackled against her"
16"She tried the door again,"
17"She pressed her ear to"
18"She checked her watch"
19"She caught the timepiece before"
ratio0.351
32.52% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount112
totalSentences131
matches
0"The suspect cut left through"
1"Rain plastered her closely cropped"
2"She tasted iron."
3"Her lungs burned."
4"Her worn leather watch slapped"
5"she shouted, but her voice"
6"The suspect vaulted a skip"
7"Quinn closed the gap."
8"She could smell their fear,"
9"The suspect wore dark clothes,"
10"They'd bolted the moment Quinn"
11"They rounded the corner onto"
12"The Camden High Street neon"
13"Quinn's boots skidded on a"
14"Grit scraped her palm."
15"The suspect glanced back."
16"A Saint Christopher medallion caught"
17"Her intelligence file had him"
18"She hadn't understood why until"
19"Quinn shouted, pulling her warrant"
ratio0.855
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences131
matches(empty)
ratio0
32.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount10
matches
0"She hadn't understood why until last week, when the surveillance photos had arrived on her desk showing Herrera emerging from Silas Abbott's bar in Soho with a …"
1"Quinn followed, landing hard on the other side, her knee protesting."
2"Herrera disappeared through a door she hadn't seen, a heavy steel door set into the wall at an angle that made it almost invisible."
3"Every thread she pulled led back to the same knot: Silas Abbott's circle, Herrera's off-the-books medical work, and something else, something that lived in the …"
4"The air that rose through the gap carried scents that didn't belong in a Camden basement, frankincense and copper and something sweet and rotten, like flowers l…"
5"Hundreds of them, pressed between makeshift stalls and tables that overflowed with objects Quinn's mind refused to categorise properly."
6"A stallholder nearest her, a woman with silver eyes and braided hair that reached her waist, leaned across her table of bone carvings."
7"She was in their territory now, outnumbered, and the tactical instinct that had kept her alive for eighteen years screamed at her to calculate, to adapt, to fin…"
8"The tunnel air blew against her face, cold and ancient, carrying sounds that weren't echoes of trains."
9"She thought of Morris, of his unmarked grave in Kensal Green Cemetery, of the autopsy report that listed cause of death as unknown, of the way his eyes had look…"
75.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount1
matches
0"she shouted, but her voice died beneath the hammering downpour and the distant wail of a siren from somewhere behind them on Euston Road"
38.89% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"she shouted (shout)"
1"Quinn shouted (shout)"
2"She pressed (press)"
dialogueSentences27
tagDensity0.185
leniency0.37
rawRatio0.6
effectiveRatio0.222
82.3120%