Run: 2026-03-11-01KKFKJXGR8TSC3W801HRFR5XT

Run Details

Duration:
47.3s
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 rain wasn’t falling; it was a solid, cold sheet that turned the neon signs of Soho into smears of weeping colour. Detective Harlow Quinn’s leather watch, a relic from a life before Morris died, soaked through as she gripped her sidearm. Her target, a wiry figure in a hoodie, slipped on the slick pavement and scrambled, leaving a wet smear on the brick wall. "Metropolitan Police! Stop!" The shout vanished into the roar of a passing black cab. The suspect—a pickpocket with a string of violent muggings linked to his file—vaulted a overflowing bin, sending cans clattering. Quinn followed, her sensible shoes finding purchase on the treacherous ground. He was heading north, away from the bright lights of the theatre district, into the labyrinthine alleys of Camden. Bad move. She knew these streets. He cut left down a narrow passage, a canyon of damp brick and shuttered windows. A lone streetlight flickered, casting the alley in a stuttering, sickly yellow. At the end, a dead end. A high chain-link fence topped with rusted barbed wire blocked the way. He skidded to a halt, his chest heaving. "Nowhere to go." Quinn’s voice was low, steady. The military bearing she’d never quite shed held her spine straight even as the cold seeped into her bones. She kept her distance, twenty feet, a professional gap. "Hands where I can see them. Now." The suspect turned. A boy, really. No more than twenty, with frantic eyes that darted from her to the fence. Rainwater dripped from his sharp chin. "I didn’t do nothing." "You did plenty. Drop the blade." His right hand, hidden in the folds of his soaked hoodie, twitched. "You don’t understand. They’re after me. Not you. Get out of here." "Last warning." He didn’t drop the blade. He threw it. Not at her, but at the wall to her left. The distraction was pathetic, but it bought him a second. He spun and slammed his shoulder into a section of the alley wall that looked no different from the rest. Except it wasn’t a wall. A door, disguised with peeling paint and grime, swung inward with a groan. A gust of air, warm and smelling of ozone, old paper, and something else—metallic, like a penny held under the tongue—rushed out. He plunged into the darkness beyond. Quinn froze. This wasn’t in any briefing. This wasn’t on any map. She took a step, peering into the breach. It was a descending stairwell, lit by the erratic buzz of a single, bare fluorescent tube. The walls were tiled in grimy white, the steps worn smooth by countless feet. The air that washed over her felt charged, electric. The sound of his fleeing footsteps echoed, wet slaps fading into the hum. Every instinct, honed over eighteen years on the force, screamed at her to call it in. Contain the perimeter. Wait for armed support. But Morris’s face, the unexplained gap in the evidence from that night three years ago, the official report that read like a cover-up of sheer madness… it all whispered that the answers she’d been chasing weren’t in any police database. They were down here, in the dark places the city pretended didn’t exist. She checked her watch. 22:47. Her partner, a by-the-book constable named Davies, was parked two streets over. Calling him would mean explanations, delays, and a senior officer telling her to stand down. The suspect would be gone. The door, if it was even a door, might vanish. "Damn it," she muttered. The word was a puff of steam in the chill air. She drew her standard-issue torch, clicked it on. The beam cut a solid cone into the stairwell. She stepped through the false wall. It felt like passing through a curtain of cool water. The sounds of the rainy London night—the distant sirens, the traffic hum—were abruptly severed, replaced by a deep, subterranean quiet broken only by the hum and the fading echo of her quarry. The door swung shut behind her with a soft, definitive click. No handle on this side. She tested the pressure. Solid. Locked in. Her heart hammered a quick, hard rhythm against her ribs. She descended. The air grew warmer, thick with a heady mix of herbs, burnt sugar, and damp earth. The fluorescent tube gave way to older, iron caged lights that cast long, wavering shadows. The stairs were endless, or felt it, spiraling down. The polished stone steps gave way to rough-hewn rock. She was going deep, far deeper than any Tube station should be. Then, sound. A low, persistent murmur. The clink of glass. A high, musical laugh that didn’t sound entirely human. The stairwell opened abruptly, not onto a platform, but onto a wide, vaulted cavern that stole her breath. It was an abandoned Tube station, but transformed. The old platforms were gone, replaced by a sprawling, chaotic bazaar. Stalls made of mismatched wood, draped in velvet and moth-eaten silk, were lit by glowing fungi in jars, floating orbs of soft light, and traditional lanterns. The air pulsed with it. Figures moved in the half-light—some human, many not. A man with skin like polished bark haggled over a jar of writhing, luminous worms. A woman whose shadow moved independently of her body examined a tray of whispering daggers. The murmur was a dozen languages, some of which didn’t use vocal cords at all. The Veil Market. The name surfaced from a half-remembered, dismissed informant’s ravings. A supernatural black market. Bone tokens for entry, the man had said. Quinn’s hand went to her pocket. The suspect had paid nothing. He’d known the way in. She spotted him instantly. His bright red hoodie was a beacon of mundane colour in this surreal tapestry. He was pushing through the crowd, heading for a stall draped in what looked like shrunken leather, where a hunched figure with multiple, trembling arms was holding up a small, glowing vial. A deal. He wasn’t just a thief; he was a courier. Quinn moved, shoving past a being that felt like cold smoke. "Police! Move!" The word, so potent on the surface, held no currency here. A few heads turned—some with too many eyes, some with none. Curious, not concerned. The suspect glanced back, his face a mask of terror. He’d thought he’d lost her. He bolted, abandoning the stall, darting towards the far end of the cavern where the old tunnel entrances gaped like hungry mouths. She followed, her torch beam cutting a path through the strangeness. This was insane. This was beyond jurisdiction, beyond protocol. This was the madhouse the official world denied. And Morris had been here. She felt it in her bones, in the goosebumps that had nothing to do with the damp. The suspect ducked into a tunnel marked with a faded, hand-painted sign: ‘Echo Lane’. Quinn didn’t hesitate. The tunnel was narrower, the stalls here dealing in more esoteric wares—memories bottled in smoke, maps of places that didn’t exist, love charms that came with a price tag of a year’s unlived life. The crowd was thinner here. He was fast, but she was relentless. He risked a look back, his eyes wide in the gloom. "Leave me alone! You don’t know what you’re doing!" "I’m making an arrest." The words felt absurd, but they were the anchor holding her to her identity. He burst out of Echo Lane into a smaller, quieter chamber. It was a dead end. A cul-de-sac of stalls selling only one thing: information. Scrolls, glowing tablets, whispering skulls. And standing before the largest stall, his back to them, was a tall figure in a severe black coat, examining a ledger. The figure turned at the commotion. Detective Harlow Quinn’s blood went cold. It was Silas, the owner of The Raven’s Nest, the bar she’d been surveilling for months. His aristocratic face, usually a mask of bored amusement, showed a flash of genuine surprise. His eyes, old and knowing, met hers across the chamber. The suspect skidded to a halt, panting, looking between the detective and Silas like a trapped animal. Silas closed the ledger with a soft thud. He smiled, a slow, chilly curve of his lips that held no warmth, only a deep, unsettling recognition. "Detective Quinn," he said, his voice carrying with effortless clarity. "How delightful. You’ve finally found your way in." The suspect made a break for it, not towards the tunnel, but towards a curtained archway behind Silas’s stall. Silas didn’t move to stop him. He just watched Quinn, his smile unwavering. She had a choice. The suspect, vanishing into yet another unknown. Or this man, the key to everything she suspected—the criminality, the occult, the reason Morris was dead. Her hand tightened on her torch. The beam fixed on Silas’s calm, waiting face. The suspect was a small fish. This was the shark. Quinn lowered her shoulder and charged, not at the fleeing boy, but directly at Silas. "You’re coming with me." His smile widened as she closed the distance. "Oh, I rather think," he murmured, his hand moving with a speed that blurred, not towards a weapon, but towards a brass bell on his counter, "that you’ll be staying." His finger tapped the bell. No sound rang out. Instead, the light in the chamber died, plunging them into absolute, suffocating darkness. And from every shadow, a low, collective growl began to rise.
created_at"2026-03-11T23:26:50.935Z" 3/11/2026, 11:26:50 PM
model"openrouter/hunter-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3710
moderation_latency(null)
generation_time47207
tokens_prompt4663
tokens_completion2619
native_tokens_prompt4209
native_tokens_completion2293
native_tokens_completion_images(null)
native_tokens_reasoning244
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-1773271610-nvKwogeffTzBDKcxMIzt"
upstream_id"gen-1773271610-nvKwogeffTzBDKcxMIzt"
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
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences15
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
96.82% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1573
totalAiIsmAdverbs1
found
0
adverb"really"
count1
highlights
0"really"
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)
20.53% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1573
totalAiIsms25
found
0
word"treacherous"
count1
1
word"flickered"
count1
2
word"charged"
count2
3
word"electric"
count1
4
word"footsteps"
count1
5
word"echoed"
count1
6
word"database"
count1
7
word"chill"
count1
8
word"standard"
count1
9
word"echo"
count3
10
word"wavering"
count1
11
word"chaotic"
count1
12
word"velvet"
count1
13
word"silk"
count1
14
word"pulsed"
count1
15
word"beacon"
count1
16
word"surreal"
count1
17
word"tapestry"
count1
18
word"gloom"
count1
19
word"warmth"
count1
20
word"effortless"
count1
21
word"unwavering"
count1
highlights
0"treacherous"
1"flickered"
2"charged"
3"electric"
4"footsteps"
5"echoed"
6"database"
7"chill"
8"standard"
9"echo"
10"wavering"
11"chaotic"
12"velvet"
13"silk"
14"pulsed"
15"beacon"
16"surreal"
17"tapestry"
18"gloom"
19"warmth"
20"effortless"
21"unwavering"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood went cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences146
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences146
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)
analyzedSentences156
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1564
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1486
uniqueNames15
maxNameDensity0.67
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Silas"
discoveredNames
Soho1
Harlow2
Quinn10
Morris4
Camden1
Davies1
London1
Tube2
Veil1
Market1
Echo1
Lane1
Silas7
Raven1
Nest1
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Davies"
4"Tube"
5"Silas"
6"Raven"
places
0"Soho"
1"London"
2"Echo"
3"Lane"
globalScore1
windowScore0.5
76.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences102
glossingSentenceCount3
matches
0"felt like passing through a curtain of"
1"looked like shrunken leather, where a hun"
2"felt like cold smoke"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords3.197
wordCount1564
matches
0"Not at her, but at the wall to her left"
1"not onto a platform, but onto a wide, vaulted cavern"
2"not towards the tunnel, but towards a curtained archway behind Silas’s stall"
3"not at the fleeing boy, but directly at Silas"
4"not towards a weapon, but towards a brass bell on his counter, \""
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences156
matches
0"whispered that the"
1"lights that cast"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs40
mean39.1
std26.38
cv0.675
sampleLengths
065
13
266
353
443
526
64
76
824
92
1094
1172
1276
1347
1480
1535
1661
1737
18103
1940
2061
2113
2262
2350
2456
2527
2618
2758
286
2958
3026
3118
3232
3342
3410
3519
3638
375
384
3924
98.05% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences146
matches
0"were tiled"
1"were gone"
2"were lit"
65.05% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs247
matches
0"wasn’t falling"
1"was heading"
2"was going"
3"was pushing"
4"was holding"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount9
semicolonCount2
flaggedSentences8
totalSentences156
ratio0.051
matches
0"The rain wasn’t falling; it was a solid, cold sheet that turned the neon signs of Soho into smears of weeping colour."
1"The suspect—a pickpocket with a string of violent muggings linked to his file—vaulted a overflowing bin, sending cans clattering."
2"A gust of air, warm and smelling of ozone, old paper, and something else—metallic, like a penny held under the tongue—rushed out."
3"The sounds of the rainy London night—the distant sirens, the traffic hum—were abruptly severed, replaced by a deep, subterranean quiet broken only by the hum and the fading echo of her quarry."
4"He wasn’t just a thief; he was a courier."
5"A few heads turned—some with too many eyes, some with none."
6"The tunnel was narrower, the stalls here dealing in more esoteric wares—memories bottled in smoke, maps of places that didn’t exist, love charms that came with a price tag of a year’s unlived life."
7"Or this man, the key to everything she suspected—the criminality, the occult, the reason Morris was dead."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1133
adjectiveStacks2
stackExamples
0"single, bare fluorescent tube."
1"faded, hand-painted sign:"
adverbCount26
adverbRatio0.02294792586054722
lyAdverbCount9
lyAdverbRatio0.00794351279788173
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences156
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences156
mean10.03
std6.62
cv0.66
sampleLengths
022
120
223
33
411
519
611
719
82
94
1015
1112
126
1312
148
158
1619
179
187
193
203
2114
226
234
246
2512
2612
272
285
293
3010
3110
3220
335
3413
3522
366
372
385
395
408
4116
4214
439
4413
4516
463
474
4826
4914
36.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.2903225806451613
totalSentences155
uniqueOpeners45
24.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences137
matches
0"Instead, the light in the"
ratio0.007
79.85% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences137
matches
0"Her target, a wiry figure"
1"He was heading north, away"
2"She knew these streets."
3"He cut left down a"
4"He skidded to a halt,"
5"She kept her distance, twenty"
6"His right hand, hidden in"
7"He didn’t drop the blade."
8"He threw it."
9"He spun and slammed his"
10"He plunged into the darkness"
11"She took a step, peering"
12"It was a descending stairwell,"
13"it all whispered that the"
14"They were down here, in"
15"She checked her watch."
16"Her partner, a by-the-book constable"
17"She drew her standard-issue torch,"
18"She stepped through the false"
19"It felt like passing through"
ratio0.35
25.69% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount119
totalSentences137
matches
0"The rain wasn’t falling; it"
1"Detective Harlow Quinn’s leather watch,"
2"Her target, a wiry figure"
3"The shout vanished into the"
4"The suspect—a pickpocket with a"
5"Quinn followed, her sensible shoes"
6"He was heading north, away"
7"She knew these streets."
8"He cut left down a"
9"A lone streetlight flickered, casting"
10"A high chain-link fence topped"
11"He skidded to a halt,"
12"Quinn’s voice was low, steady"
13"The military bearing she’d never"
14"She kept her distance, twenty"
15"The suspect turned."
16"A boy, really."
17"Rainwater dripped from his sharp"
18"His right hand, hidden in"
19"He didn’t drop the blade."
ratio0.869
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences137
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount4
matches
0"The rain wasn’t falling; it was a solid, cold sheet that turned the neon signs of Soho into smears of weeping colour."
1"But Morris’s face, the unexplained gap in the evidence from that night three years ago, the official report that read like a cover-up of sheer madness…"
2"She felt it in her bones, in the goosebumps that had nothing to do with the damp."
3"He smiled, a slow, chilly curve of his lips that held no warmth, only a deep, unsettling recognition."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"he said, his voice carrying with effortless clarity"
16.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount2
fancyTags
0"she muttered (mutter)"
1"he murmured (murmur)"
dialogueSentences15
tagDensity0.2
leniency0.4
rawRatio0.667
effectiveRatio0.267
70.0974%