Run: 2026-03-11-01KKFF45844KP0M4RKKES8X7KE

Run Details

Duration:
1m 37s
Cost:
$0.009785
Provider:
Seed

Model input

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

Model response

AI
Harlow’s boot skidded on wet tarmac, she slammed her shoulder into an overflowing wheelie bin to avoid a speeding black cab that blared its horn as it tore past. The salt-and-pepper strands of her close crop stuck to her sweat-slick forehead, the worn leather of her watch digging into her left wrist as she pumped her arms harder, her 5’9 frame cutting through the thin crowd of stumbling Camden nightlife. She had tracked Tomás Herrera from the Raven’s Nest, three blocks back, when he’d slipped out of the bar’s hidden back room through a side exit, too sharp to miss the unmarked car parked across the street. She had staked out Silas’s bar for six weeks, had peered through its smudged front window once to spot the frayed old maps and cracked black-and-white photographs lining its dim walls, had watched the regulars slip through the fake bookshelf that hid the Nest’s back room, all while gathering proof the clique that ran it was responsible for seven unsolved deaths that had littered London’s underbelly for the past year. The same clique that had left her partner, DS Jim Morris, bleeding out in an alley three years prior, a death the Met had written off as a random gang attack, even though Harlow had seen the claw marks raked through his tactical vest, even though she had seen whatever had torn him apart vanish into the dark before backup arrived. She spotted Tomás’s short curly dark hair bobbing twenty feet ahead, the edge of his Saint Christopher medallion glinting under a flickering sodium streetlamp as he rounded a corner into a boarded-up side alley, away from the blaring music and drunken shouts of Camden High Street. Harlow put on a burst of speed, the decades of military-style fitness training that shaped every movement of hers letting her close the gap in seconds. Broken glass crunched under her boots, the stale stench of rot and discarded weed hung thick in the air, and a scrawny tabby cat bolted from a mouldering mattress left propped against a brick wall. “Herrera!” she yelled, her voice sharp enough to cut through the distant hum of traffic. “Stop running. I’m not here to nick you for off-label pethidine to patch up clique grunts.” Tomás skidded to a halt ten feet from a rusted iron gate set into the far wall of the alley, a faded Tube roundel half scratched off the brick above it, the abandoned old Camden Town station that had been sealed off since the 1970s, written off by most locals as a derelict death trap. His sleeve ripped as he grabbed the gate’s cold bar, the long pale scar running along his left forearm exposed to the dim light, and he spun to face her, his chest heaving. Olive skin glistened with rain, his warm brown eyes wide with a fear she had never seen on the quiet former paramedic’s face, the man whose NHS file she had pored over a hundred times, who had lost his license for treating patients the NHS would have locked up as delusional, patients that were not human. “You have no idea what you’re walking into, Quinn.” His voice cracked, half snarl half plea. “Turn around. Walk away. This place doesn’t let outsiders wander out when they please.” Harlow pulled her badge from her inner jacket pocket, flipped it open even though she knew he did not care about Metropolitan Police jurisdiction. The cracked leather ID holder had sat in her bag for three years, a relic of the case that had broken her career’s upward trajectory, the only thing she had left of the old life she led before Morris died. “I’m not turning around. You’re the only link I have to what killed Jim. Whatever is down there, whatever sells the potions that eat people from the inside out, whatever tears coppers apart in alleyways, I’m taking it down. I’ve waited three years for this.” Tomás reached into his jacket pocket, pulled out a small smooth fox’s bone, and pressed it flat to the gate’s rusted lock. The mechanism clicked once, loud as a gunshot in the quiet alley, and the heavy iron swung inward with a low groan. Harlow’s blood ran cold. She had an identical bone in her own pocket, picked up from the scene of a Hackney murder three weeks prior, a fragment forensics had dismissed as a random trinket, a bit of new age nonsense left by a junkie. She had stuffed it into her wallet that night, unable to shake the sense that it was important, that it was the same small white object she had spotted clutched in Morris’s hand as he died. “That bone you’re carrying,” Tomás yelled, backing through the gate as the heavy metal began to swing shut behind him, “it’s the only thing that’ll get you inside, but it won’t keep you safe. They can smell unsponsored outsiders within ten minutes. The Market moves every full moon, right? If you’re still locked in here when it seals at dawn, you’ll be trapped forever, just another piece of stock to sell off to the highest bidder. I’m warning you for the last time. Stay out.” He vanished into the dark beyond the gate, the iron swinging shut so fast it nearly slammed. Harlow did not hesitate. She thought of Morris’s laugh, the way he had brought her a strong black coffee every shift start, the way he had begged her to wait for backup before following him into that fatal alley three years prior, the way she had ignored him and arrived too late. She reached into her pocket, wrapped her fingers around the small fox’s bone, and ran at the gate, slamming her palm flat against the lock before it could latch. The mechanism clicked once, just as it had for Tomás, and the gate swung open again. She slipped through into the dark, the iron clanging shut behind her. Light hit her a second later, bright and golden, strung along the old Tube station’s vaulted ceilings, hundreds of stalls lining both platforms, crowds of figures in hooded cloaks weaving between them, the air thick with the stench of burnt sage, copper, sweet fermented cider and something sharp, like ozone. A huckster yelled from a nearby stall, holding up a jar of glowing blue liquid that pulsed in time with a heartbeat, touting its power to turn vampires mortal. A woman with antlers curling from her hair haggled over a stack of cursed love letters, her gloved fingers tapping the worn wooden counter. She spotted Tomás halfway down the central concourse, weaving through the crowd, his curly hair visible above the throng, and she lifted a foot to follow. A hand wrapped around her upper arm, hard enough to bruise, and she spun, yanking her taser from her belt and aiming it at the figure holding her. The woman was half a foot shorter than Harlow, her skin the colour of polished obsidian, two small curved horns curling from her forehead, her eyes solid black, no whites, no irises. She sniffed the air once, loud and deliberate, and grinned, her teeth sharp as shards of broken glass. “New meat. Came in alone, didn’t you? No sponsor. The stewards love unsponsored outsiders. Fetch a pretty price, you will. A detective, too. Can smell the gun oil and the badge on you. Perfect for the alchemists up north, they pay a fortune for the bones of honest coppers.” Harlow jerked her arm free, her finger hovering over the taser’s trigger, but she froze when two huge men stepped out from the shadow of the old ticket booth behind the horned woman, their hands twisted into thick, black claws, their shoulders wide enough to block the only path back to the gate. They stepped forward, and she heard Tomás’s voice cut through the crowd’s roar, half angry half desperate, from the far end of the concourse. “I told you not to follow me!”
created_at"2026-03-11T22:08:53.026Z" 3/11/2026, 10:08:53 PM
model"bytedance-seed/seed-2.0-lite-20260309"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1140
moderation_latency(null)
generation_time96984
tokens_prompt4663
tokens_completion4756
native_tokens_prompt4540
native_tokens_completion4325
native_tokens_completion_images(null)
native_tokens_reasoning2638
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"
usage0.009785
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provider_responses
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endpoint_id"bf1a3473-7a0a-46d3-aaa5-adb8f876a697"
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is_byokfalse
latency1140
model_permaslug"bytedance-seed/seed-2.0-lite-20260309"
provider_name"Seed"
status200
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.375
leniency0.75
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1334
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)
88.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1334
totalAiIsms3
found
0
word"glinting"
count1
1
word"pulsed"
count1
2
word"perfect"
count1
highlights
0"glinting"
1"pulsed"
2"perfect"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"blood ran cold"
count1
1
label"hung in the air"
count1
highlights
0"blood ran cold"
1"hung thick in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences36
matches(empty)
63.49% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences36
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences41
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen85
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1334
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1124
uniqueNames20
maxNameDensity0.71
worstName"Tomás"
maxWindowNameDensity1.5
worstWindowName"Morris"
discoveredNames
Camden3
Tomás8
Herrera1
Raven1
Nest2
Silas1
London1
Jim1
Morris4
Met1
Harlow8
Saint1
Christopher1
High1
Street1
Tube2
Town1
Metropolitan1
Police1
Hackney1
persons
0"Tomás"
1"Herrera"
2"Nest"
3"Silas"
4"Jim"
5"Morris"
6"Met"
7"Harlow"
8"Saint"
9"Christopher"
places
0"Camden"
1"Raven"
2"London"
3"High"
4"Street"
5"Town"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences34
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1334
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences41
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs14
mean95.29
std56.72
cv0.595
sampleLengths
0238
1107
231
3144
430
5109
6124
785
8126
9129
1078
1149
1277
137
95.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences36
matches
0"been sealed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs172
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences41
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1131
adjectiveStacks2
stackExamples
0"short curly dark hair"
1"same small white object"
adverbCount24
adverbRatio0.021220159151193633
lyAdverbCount6
lyAdverbRatio0.005305039787798408
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences41
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences41
mean32.54
std17.82
cv0.548
sampleLengths
029
141
237
370
461
546
626
735
815
916
1055
1133
1256
1316
1414
1524
1640
1745
1822
1922
204
2140
2236
2385
2417
254
2648
2729
2816
2912
3050
3129
3224
3326
3428
3532
3618
3749
3853
3924
407
63.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.43902439024390244
totalSentences41
uniqueOpeners18
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences36
matches(empty)
ratio0
53.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount15
totalSentences36
matches
0"She had tracked Tomás Herrera"
1"She had staked out Silas’s"
2"She spotted Tomás’s short curly"
3"she yelled, her voice sharp"
4"His sleeve ripped as he"
5"His voice cracked, half snarl"
6"She had an identical bone"
7"She had stuffed it into"
8"He vanished into the dark"
9"She thought of Morris’s laugh,"
10"She reached into her pocket,"
11"She slipped through into the"
12"She spotted Tomás halfway down"
13"She sniffed the air once,"
14"They stepped forward, and she"
ratio0.417
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount34
totalSentences36
matches
0"Harlow’s boot skidded on wet"
1"The salt-and-pepper strands of her"
2"She had tracked Tomás Herrera"
3"She had staked out Silas’s"
4"The same clique that had"
5"She spotted Tomás’s short curly"
6"Harlow put on a burst"
7"she yelled, her voice sharp"
8"Tomás skidded to a halt"
9"His sleeve ripped as he"
10"Olive skin glistened with rain,"
11"His voice cracked, half snarl"
12"Harlow pulled her badge from"
13"The cracked leather ID holder"
14"Tomás reached into his jacket"
15"The mechanism clicked once, loud"
16"Harlow’s blood ran cold."
17"She had an identical bone"
18"She had stuffed it into"
19"Tomás yelled, backing through the"
ratio0.944
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences36
matches(empty)
ratio0
4.61% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences31
technicalSentenceCount6
matches
0"Harlow’s boot skidded on wet tarmac, she slammed her shoulder into an overflowing wheelie bin to avoid a speeding black cab that blared its horn as it tore past…"
1"The salt-and-pepper strands of her close crop stuck to her sweat-slick forehead, the worn leather of her watch digging into her left wrist as she pumped her arm…"
2"She had staked out Silas’s bar for six weeks, had peered through its smudged front window once to spot the frayed old maps and cracked black-and-white photograp…"
3"The same clique that had left her partner, DS Jim Morris, bleeding out in an alley three years prior, a death the Met had written off as a random gang attack, e…"
4"Tomás skidded to a halt ten feet from a rusted iron gate set into the far wall of the alley, a faded Tube roundel half scratched off the brick above it, the aba…"
5"Olive skin glistened with rain, his warm brown eyes wide with a fear she had never seen on the quiet former paramedic’s face, the man whose NHS file she had por…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"she yelled (yell)"
1"Tomás yelled (yell)"
dialogueSentences8
tagDensity0.25
leniency0.5
rawRatio1
effectiveRatio0.5
77.4596%