Run: 2026-03-11-01KKFKT09JWMGYVVV3H8W4RJ4T

Run Details

Duration:
28.1s
Cost:
$0.000000
Provider:
Stealth

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The chalk outline was wrong. Detective Harlow Quinn crouched beside it, her leather watch strap creaking as she angled her torch. Not the shape of the body, that was correct. A man, lying on his back, arms outstretched as if reaching for the rusted escalator beyond the police tape. The wrongness was in the floor. The abandoned Camden tube station stank of wet concrete and something sweeter, cloying like burnt sugar. CSI techs moved like ghosts in the harsh floodlights, their white suits stark against decades of grime. Davies, her temporary DS, stood by the ticket booth, speaking into his radio with the weary tone of someone who’d seen too many London murders that were all depressingly similar. This one wasn’t. “See something, Guv?” DS Davies clicked off his radio and ambled over, his own torch beam cutting a nervous path across the platform. “Dust.” Harlow didn’t look up. She traced a finger through the thick layer on the tiled floor, a centimetre from the chalk line. The victim’s heels had dug in, a clear drag mark pointing toward the escalator. Standard. But the dust everywhere else was undisturbed. “No footprints. None.” “Could be from before. The station’s been closed since ‘98. Nobody comes down here.” “Somebody did. Him.” She nodded at the outline. “And whoever killed him. They left no trace.” Her gaze swept the cavernous space. A faded advert for a long-defunct mobile network smiled down at them. The tunnels yawned black at either end of the platform. “No shell casings. No struggle marks on the walls, on the posts. Just this.” She pointed to a series of small, precise punctures in the centre of the victim’s chest, visible even under the sheet the pathologist had tented over the body. Davies squinted. “Knife wounds?” “Needle sharp. Perfectly parallel. Three of them.” Harlow’s eyes narrowed. “Execution-style would be one. Close together. This… this is geometric.” “You think it’s some ritual thing?” Davies sighed, a puff of condensation in the cold air. “Occultists, Camden lot? Probably just kids with a weird hobby that got out of hand.” Harlow stood, her joints protesting. Her knees always warned her of oncoming rain, and London’s perpetual drizzle was no exception. She adjusted her cuffs, the sharp crease of her trousers a small point of order in the chaos. “Ritual doesn’t leave a perfectly clean floor, Davies. It leaves chalk circles, salt, candles, mess. This is clean.” She looked toward the escalator again. “Too clean.” “Maybe the killer wiped the place down.” “With what? And how? Forensics haven’t found a single cleaning product residue. Just dust.” She began to walk a perimeter around the body, counting her steps. Seven paces to the wall. Back. Seven paces to the nearest pillar. Her boots were silent on the grime. Everyone else’s crunched. Hers didn’t. At the mouth of the northbound tunnel, she stopped. A faint breeze touched her cheek. Not the usual stale draught of the Underground. This carried a different scent, metallic and sharp, like ozone after a lightning strike. She crouched again, running her torch beam along the edge where the platform met the void. There. A thin, dark line, almost invisible against the shadowed gap. Not dirt. It was too uniform. She took a pen from her pocket and touched it to the line. It didn’t smudge. It flaked away, leaving a brittle residue on the pen tip. “Davies. Bring the UV lamp.” He hurried over, relayed the order to a tech. As they set up the tripod, a new figure descended from street level, moving against the stream of departing officers. Eva Kowalski’s red curls were a frantic halo around her round glasses, her worn leather satchel bumping against her hip. She looked at home among the dust and decay in a way the uniformed officers did not. “Harlow.” Eva’s voice was a touch breathless, her eyes already scanning the scene with a researcher’s hunger. “The station master said there was something ‘peculiar’. His exact word.” She tucked a strand of hair behind her left ear. “He’s not usually so verbose.” “Eva.” Harlow acknowledged her with a nod. They had an unspoken arrangement, born from the aftermath of the Morris case and the questions it left unanswered. Eva’s expertise in the arcane sometimes provided context Harlow’s police training lacked. “The body’s been moved.” “What makes you say that?” Harlow pointed her pen, still tipped with the black residue, at the floor. “This line. It’s a trace of something. A powder. It frames the tunnel entrance. And look at the dust again. It’s uniform across the entire platform. If someone walked from the tunnel to the body, there’d be a trail.” Eva knelt, her green eyes intense behind her glasses. She pulled a small, leather-bound notebook from her satchel and made a sketch. “No footprints. So the body was placed here by someone who didn’t leave footprints. Or they were here before the dust.” “Or they didn’t walk.” Harlow’s words hung in the air. The tech returned with the UV lamp. As the blacklight hummed to life and swept across the floor, the dust transformed. Within the chalk outline, and only within it, faint, luminous patterns glowed. Swirls and symbols that had been invisible under normal light, drawn in whatever the victim’s blood had mixed with. They weren’t human. They looked like fractured script, or the tracery of a frozen nerve. “My God.” Davies breathed. “That’s… not in any manual I’ve read.” Harlow stared, her heart a cold, steady thump in her chest. It felt familiar. That deep, visceral unease. The same feeling she’d had in the last moments with Morris, in that damp basement in Bristol, when the air had smelled of ozone and the shadows had seemed to breathe. She’d dismissed it then as stress, as trauma. The departmental psychologist had agreed. PTSD. Survivor’s guilt. This felt like a memory coming true. “Geometric punctures.” Eva whispered, her notebook forgotten. “A clean scene. A trace of powdered line that’s clearly a threshold marker of some kind. And now blood-activated sympathetic glyphs.” She looked up at Harlow, her expression grave. “This isn’t Camden kids. This is a professional. A clean, precise extraction.” “Extraction?” Harlow’s voice was low. “From where?” Eva’s gaze went to the gaping, black tunnel. “Not from the station. Onto it. Someone, or something, came through. The threshold was marked. The… delivery was made. The glyphs are a signature, or a binding spell to leave the body here undisturbed for a time. The dust wasn’t disturbed because whatever did this didn’t touch the floor.” Harlow felt a prickle across her scalp. It was insane. It was the kind of talk that got you a permanent psych evaluation. But the evidence lay glowing on the floor in UV light. The perfectly clean platform. The absence of footprints. The geometric wounds that weren’t made by any knife she knew. “Sir?” A young constable approached, looking green. “We’ve ID’d the victim. Arthur Finch. Antiquities dealer. His shop in Portobello Road is empty. Neighbour saw him two nights ago, said he was excited about a ‘once-in-a-lifetime acquisition’.” “And he ends up here,” Davies said. “Probably trying to buy stolen goods from the tunnel rats. Deal gone wrong.” “There are no tunnel rats.” Harlow cut him off, her eyes still on the glyphs. “Not anymore. Not since the council sealed the secondary access points.” She finally looked away from the floor, her gaze settling on the far end of the platform, where a faded sign pointed towards ‘Way Out’. “He didn’t come down here to buy something, Davies. He came to sell.” She walked to the escalator, placing her hand on the still, grimy handrail. Finch had been trying to reach it. Or been dragged towards it. But the drag marks ended at the chalk line, not the escalator itself. The line. The threshold. “Eva. The Veil Market. Does it move on a schedule?” Eva blinked, caught off guard. “Every full moon. The old rumour is it’s always in a disused station, but the station changes. No one knows how they move it. Just… it appears.” Harlow pulled out her personal mobile, ignoring the protest from Davies about procedure. She opened her messages. An old text from an unknown number, received six months ago. *Next moon. Camden. If you want the truth about Bristol.* She’d deleted it. Or thought she had. “Davies, cordon off this entire station. No one in or out without my authorisation. Get a warrant for Finch’s shop and home. I want every computer, every notebook, every scrap of paper.” “And the… markings?” He gestured at the floor, the UV lamp still casting its eerie glow. “The CSI team will document them. Then we’ll have them cleaned.” “Cleaned?” Eva stood abruptly. “Harlow, that’s evidence!” “It’s a message,” Harlow said, her voice hard and final. She looked at the tunnel mouth, at the faint, residual charge in the air she could now feel against her skin. “And we just read it.” As Davies started barking orders, Harlow fished in her coat pocket. Her fingers closed around the small, cool brass casing of the Veil Compass, its patina smooth under her thumb. She’d bought it from a stall at a market in Camden two years ago, on impulse. A curiosity. The stall-keeper had called it a shadow compass. It had never worked. It just sat in her pocket, a metallic reminder of her own descent into looking for explanations in odd places. She drew it out. The compass sat heavy in her palm, verdigris patina dull in the floodlights. Eva let out a soft gasp beside her. Harlow pressed her thumb into the glass face. The needle, frozen since the day she’d bought it, shuddered. It jerked violently, spun in a tight circle three times, and then locked into place, pointing directly into the black maw of the tunnel where the ozone smell was strongest. A low, resonant hum began to vibrate up through the soles of Harlow’s boots, coming from deep within the earth. The floodlights flickered once, twice. The UV glow on the floor flared with brilliant, searing intensity for a single heartbeat before fading completely, plunging the chalk outline back into mundane shadow. But the hum remained, growing stronger, and the air in the station began to smell of burnt sugar again, thick and suffocating. From the tunnel, something like a whisper, a collective inhalation of breath that didn’t belong to any human lung, echoed back along the empty tracks.
created_at"2026-03-11T23:30:43.154Z" 3/11/2026, 11:30:43 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency780
moderation_latency(null)
generation_time27770
tokens_prompt4671
tokens_completion3712
native_tokens_prompt4238
native_tokens_completion3077
native_tokens_completion_images(null)
native_tokens_reasoning926
native_tokens_cached4236
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-1773271843-FhlCxkgw3uXvrbi9gfBS"
upstream_id"gen-1773271843-FhlCxkgw3uXvrbi9gfBS"
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
totalTags22
adverbTagCount1
adverbTags
0"Eva stood abruptly [abruptly]"
dialogueSentences50
tagDensity0.44
leniency0.88
rawRatio0.045
effectiveRatio0.04
88.56% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1748
totalAiIsmAdverbs4
found
0
adverb"perfectly"
count3
1
adverb"completely"
count1
highlights
0"perfectly"
1"completely"
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)
54.23% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1748
totalAiIsms16
found
0
word"stark"
count1
1
word"traced"
count1
2
word"standard"
count1
3
word"scanning"
count1
4
word"unspoken"
count1
5
word"aftermath"
count1
6
word"fractured"
count1
7
word"familiar"
count1
8
word"grave"
count1
9
word"reminder"
count1
10
word"maw"
count1
11
word"flickered"
count1
12
word"searing"
count1
13
word"intensity"
count1
14
word"whisper"
count1
15
word"echoed"
count1
highlights
0"stark"
1"traced"
2"standard"
3"scanning"
4"unspoken"
5"aftermath"
6"fractured"
7"familiar"
8"grave"
9"reminder"
10"maw"
11"flickered"
12"searing"
13"intensity"
14"whisper"
15"echoed"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"hung in the air"
count1
highlights
0"eyes narrowed"
1"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences127
matches
0"felt a prickle"
86.61% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences127
filterMatches
0"watch"
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences153
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords10
totalWords1748
ratio0.006
matches
0"Next moon. Camden. If you want the truth about Bristol."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions51
wordCount1255
uniqueNames13
maxNameDensity1.43
worstName"Harlow"
maxWindowNameDensity3
worstWindowName"Harlow"
discoveredNames
Harlow18
Quinn1
Camden3
London2
Davies8
Seven2
Underground1
Kowalski1
Morris2
Bristol2
Eva9
Veil1
Compass1
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Kowalski"
4"Morris"
5"Eva"
6"Compass"
places
0"Camden"
1"London"
2"Bristol"
globalScore0.783
windowScore0.667
30.95% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount4
matches
0"as if reaching for the rusted escalator beyond the police tape"
1"looked like fractured script, or the trac"
2"felt like a memory coming true"
3"something like a whisper, a collective inhal"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1748
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences153
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs48
mean36.42
std24.25
cv0.666
sampleLengths
055
163
23
323
448
514
686
74
820
931
1064
117
1250
1397
145
1566
1643
1742
185
1952
2043
2110
2267
2311
2465
257
2648
277
2857
2953
3036
3120
3264
3342
3410
3532
3638
377
3832
3916
4011
417
4236
4380
4425
4548
4651
4747
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences127
matches
0"been dragged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs191
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences153
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount959
adjectiveStacks2
stackExamples
0"small, leather-bound notebook"
1"invisible under normal light,"
adverbCount25
adverbRatio0.026068821689259645
lyAdverbCount4
lyAdverbRatio0.004171011470281543
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences153
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences153
mean11.42
std8.88
cv0.777
sampleLengths
05
116
29
319
46
516
617
730
83
923
105
1118
1214
131
147
153
1614
178
1814
1912
2010
2142
222
232
2410
2510
2616
2715
285
2915
3018
3124
322
337
3426
355
361
376
387
393
402
419
426
438
4414
4516
461
4710
482
494
57.73% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.38562091503267976
totalSentences153
uniqueOpeners59
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences112
matches(empty)
ratio0
84.29% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences112
matches
0"She traced a finger through"
1"She nodded at the outline"
2"Her gaze swept the cavernous"
3"She pointed to a series"
4"Her knees always warned her"
5"She adjusted her cuffs, the"
6"She looked toward the escalator"
7"She began to walk a"
8"Her boots were silent on"
9"She crouched again, running her"
10"It was too uniform."
11"She took a pen from"
12"It didn’t smudge."
13"It flaked away, leaving a"
14"He hurried over, relayed the"
15"She looked at home among"
16"She tucked a strand of"
17"They had an unspoken arrangement,"
18"She pulled a small, leather-bound"
19"They weren’t human."
ratio0.339
35.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount95
totalSentences112
matches
0"The chalk outline was wrong."
1"Detective Harlow Quinn crouched beside"
2"A man, lying on his"
3"The wrongness was in the"
4"The abandoned Camden tube station"
5"CSI techs moved like ghosts"
6"Davies, her temporary DS, stood"
7"This one wasn’t."
8"DS Davies clicked off his"
9"Harlow didn’t look up"
10"She traced a finger through"
11"The victim’s heels had dug"
12"She nodded at the outline"
13"Her gaze swept the cavernous"
14"A faded advert for a"
15"The tunnels yawned black at"
16"She pointed to a series"
17"Harlow’s eyes narrowed"
18"Davies sighed, a puff of"
19"Harlow stood, her joints protesting."
ratio0.848
44.64% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences112
matches
0"If you want the truth"
ratio0.009
68.45% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount5
matches
0"A man, lying on his back, arms outstretched as if reaching for the rusted escalator beyond the police tape."
1"Davies, her temporary DS, stood by the ticket booth, speaking into his radio with the weary tone of someone who’d seen too many London murders that were all dep…"
2"Swirls and symbols that had been invisible under normal light, drawn in whatever the victim’s blood had mixed with."
3"It was the kind of talk that got you a permanent psych evaluation."
4"From the tunnel, something like a whisper, a collective inhalation of breath that didn’t belong to any human lung, echoed back along the empty tracks."
11.36% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount5
matches
0"Davies sighed, a puff of condensation in the cold air"
1"Eva whispered, her notebook forgotten"
2"Harlow cut, her eyes still on the glyphs"
3"He gestured, the UV lamp still casting its eerie glow"
4"Harlow said, her voice hard and final"
70.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount4
fancyTags
0"Davies sighed (sigh)"
1"Harlow acknowledged (acknowledge)"
2"Davies breathed (breathe)"
3"Eva whispered (whisper)"
dialogueSentences50
tagDensity0.12
leniency0.24
rawRatio0.667
effectiveRatio0.16
78.4688%