Run: 2026-03-11-01KKFKXQ2NKT4T3BFZHPXA09Z0

Run Details

Duration:
22.8s
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 blood was wrong. Detective Harlow Quinn knew it the moment she descended the crumbling steps into the abandoned Camden tube station. It wasn't the amount, though a litre or more pooled in stagnant crimson on the dusty platform, nor the victim, a middle-aged man in a threadbare coat sprawled with his arms flung wide. It was the pattern. The arterial spray didn't arc away from the body in a high-velocity burst as it should have. Instead, the fine droplets streaked upwards, defying gravity to spatter the curved tunnel wall above the corpse like a grim, inverted constellation. "And here's the fun part," DS Davies said, his voice echoing slightly in the vast, dead space. He pointed a latex-gloved finger at the victim's neck. "Single puncture wound. Small, clean. Something like an ice pick, but the coroner's already muttering about the bone being bored through, not crushed." Harlow didn't answer. Her eyes, sharp and brown, swept the scene. The platform was a graveyard of decay. Rusting rails vanished into inky darkness on either side. The air hung thick with the smell of damp concrete and something else, a faint, cloying sweetness like rotting flowers. Her worn leather watch, a gift from a lifetime ago, read just past midnight. The Veil Market was supposed to be here tonight, somewhere in the labyrinthine tunnels beneath the city. Her informant had whispered of a "silent auction" for goods that defied rational explanation. Now, this. "The victim's name is Alistair Finch," Davies continued, flipping open his notebook. "Part-time antiquities dealer, according to his ID. Cash-only business, no fixed address. Fits the profile of someone who'd wander down here looking for a bargain." "Or looking for trouble," Harlow said. Her gaze traced the unnatural blood spatter again. The ceiling was a good three metres above the body. What angle, what weapon, what sequence of events could cause blood to spurt upwards? She crouched, the knees of her trousers brushing against grit. Her military bearing meant she moved with an economy of motion, a stillness that made others uneasy. "Who called it in?" "Anonymous tip. Payphone at Chalk Farm station twenty minutes ago." Davies kicked at a loose tile. "Place is a rabbit warren. CSU's having a nightmare mapping it. They've found two sealed off sections already, full of nothing but rats and old posters." Harlow reached into her coat pocket, her fingers brushing the cool, brass casing of the Veil Compass. She resisted the urge to pull it out. Not here, not yet. "Rats," she repeated softly. She scanned the edges of the platform, the shadows pooling under the defunct ticket machines. The place was a monument to neglect, a feast for vermin. Yet she saw no scurrying shapes, heard no scratching. "Where are the rats, Davies?" He frowned. "What?" "This place reeks of decay. Food wrappers, stagnant water in the drains, a fresh corpse. Rats should be everywhere." She pointed to a crushed crisp packet near the body. "And they haven't touched it. Not a single gnaw mark." Davies shrugged, his interpretation already set. "Maybe the killer used rat poison as a deterrent. Or maybe our victim was alone when he died, and whatever spooked the local wildlife happened after he stopped moving. Fear, Harlow. Animals sense it. Something bad happened here, scared them off." Harlow's jaw tightened. Davies was a good detective, competent and thorough in the daylight world of facts and forensics. He saw a crime scene. She saw a violation of the natural order. The blood on the wall was the first symptom. The absence of rats was the second. She stood and moved to the victim, careful to avoid the spreading pool. Finch's face was frozen in an expression not of pain, but of profound astonishment, his mouth a small 'o'. His eyes, milky in death, were fixed on the vaulted ceiling. Harlow followed his gaze. Just bare brickwork and decades of grime. "Preliminary time of death?" she asked, not looking at Davies. "Coroner's guessing within the last two hours. Liver temp is consistent. No signs of struggle, no defensive wounds on his hands. It's like he just… stood there and let it happen." "Or couldn't stop it." Harlow’s eyes snagged on Finch's right hand, clenched in a loose fist. She nodded to the evidence tech kneeling nearby. "Can you open that?" The tech worked the fingers loose. Something small, pale, and flat fell into an evidence bag. He held it up. It was a bone disc, about the size of a pound coin, etched with symbols that looked haphazard, almost childish. "What is that? Some kind of token?" Davies asked, stepping closer. Harlow knew exactly what it was. A bone token. Entry to the Veil Market. "It's a ticket," she said. "He was a buyer. Or a seller." She reached into her own pocket again. Her own token, acquired at great cost and on the advice of a very nervous woman named Eva, felt heavy and accusatory against her thigh. "So this was a deal gone wrong," Davies surmised, nodding as if solving a puzzle. "He came to buy something illicit, seller wanted more money, or vice versa. Killer used a concealed weapon, took his wallet, and fled through the maze. That explains the rats fleeing, the panic. The killer ran, made noise, disturbed them." Harlow said nothing. The theory was clean. It was logical. It was also wrong. The killer hadn't run. The blood spatter told a story of sudden, explosive violence, but from a fixed point. And the weapon… an ice pick? She leaned closer, her detective’s eye taking in every detail of Finch’s coat. It was old, wool, moth-eaten. The puncture wound in his neck was indeed small, a neat, dark hole. But the fabric around it wasn't torn in a messy way. It was *melted*, the fibres fused into a tiny, blackened ring, as if by focused heat. "Davies," she said, her voice low. "Look at the wound track again. The tissue. It's not just punctured." He peered over her shoulder, his breath fogging in the chill air. "Looks clean to me. Sharp instrument." "The fabric. The edges." She gestured. "They're cauterized. A cold puncture wouldn't do that. An ice pick is ice." He was silent for a moment, the gears turning. "A heated rod, then? Some kind of custom tool?" "Possible." Harlow straightened up. The smell of rotting flowers was stronger here, by the body. It was a sickly-sweet perfume, entirely out of place. It wasn't coming from the tunnels. It was coming from the victim. Her hand went to her pocket again. This time she drew out the Veil Compass. It was a small brass device, its casing verdigris-stained, its face etched with protective sigils that hummed faintly to her fingertips. The needle, a sliver of dark metal, was twitching. Not pointing north. It was rotating in slow, jerky arcs, as if searching for a signal, its movements growing more agitated the closer she brought it to Alistair Finch’s body. "Harlow, what is that?" Davies’s tone held a mix of curiosity and wariness. He’d seen the compass before, during a case three years ago that had cost him a friend, cost Harlow her partner DS Morris. He’d seen the aftermath of something he couldn’t explain. "It's a compass," she said, her eyes fixed on the needle. It was straining now, pointing directly down at the blood pooling beneath Finch, then swinging upwards to spatter the wall, then back down. "It points to things." "Things like what? The killer?" "Things that shouldn't be here." The needle gave a final, decisive twitch and locked onto a point directly beneath the body, in the darkness of the floor drain. A faint, almost imperceptible shimmer seemed to hang in the air above that spot, like heat haze on a summer road. The sweetness of the rot was emanating from it. "You think someone used some kind of… chemical weapon? Acid sprayer?" Davies was trying, his mind grasping for the rational straws. "No." Harlow’s gaze drifted back to the blood on the wall. The inverted spray. The cauterized wound. The silent, rat-less decay. The compass humming in her hand, its needle screaming of a rift, a portal, a breach. "I don't think the weapon came from our world at all. I think Alistair Finch came down here to do business, and he did business with something that wasn't human." She met Davies's eyes, seeing the flicker of disbelief, the hardening resolve to stick to procedure. "He got a puncture wound from a source we don't have a weapon for. The blood defied physics. And whatever did it, it left behind a smell that doesn't belong, and it spooked every living thing in this tunnel for a mile." The CSU tech clearing the perimeter chose that moment to call out. "Ma'am? Found something else. Over here, by this sealed tunnel entrance." Harlow and Davies walked over. The tech illuminated a section of the wall with his torch. Scratched into the grime and brick, in frantic, uneven letters, were two words. **THEY FOLLOW.** Harlow’s blood ran cold. Not a message left *by* the killer. A warning left *about* them. From the deepest darkness of the tunnel behind them, where the torchlight couldn't reach, came a soft, wet sound. Like a foot taking a slow step through something viscous. Davies’s hand went to his holstered sidearm. "Who's there?" No answer. Just the oppressive silence of the dead station, and the cloying, sweet smell that now seemed to be coming from every shadow at once. The needle of the Veil Compass in Harlow's hand was spinning wildly.
created_at"2026-03-11T23:32:44.787Z" 3/11/2026, 11:32:44 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1046
moderation_latency(null)
generation_time22710
tokens_prompt4671
tokens_completion2870
native_tokens_prompt4238
native_tokens_completion2517
native_tokens_completion_images(null)
native_tokens_reasoning448
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-1773271964-EMCDhhhoglTeGjCAvCN2"
upstream_id"gen-1773271964-EMCDhhhoglTeGjCAvCN2"
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
totalTags21
adverbTagCount2
adverbTags
0"she repeated softly [softly]"
1"Harlow’s gaze drifted back [back]"
dialogueSentences42
tagDensity0.5
leniency1
rawRatio0.095
effectiveRatio0.095
90.65% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1605
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"softly"
count1
2
adverb"very"
count1
highlights
0"slightly"
1"softly"
2"very"
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)
62.62% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1605
totalAiIsms12
found
0
word"echoing"
count1
1
word"traced"
count1
2
word"scanned"
count1
3
word"profound"
count1
4
word"etched"
count2
5
word"chill"
count1
6
word"aftermath"
count1
7
word"flicker"
count1
8
word"resolve"
count1
9
word"oppressive"
count1
10
word"silence"
count1
highlights
0"echoing"
1"traced"
2"scanned"
3"profound"
4"etched"
5"chill"
6"aftermath"
7"flicker"
8"resolve"
9"oppressive"
10"silence"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood ran cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences118
matches
0"the flicker of disbelief"
94.43% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences118
filterMatches
0"watch"
hedgeMatches
0"try to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences139
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords5
totalWords1605
ratio0.003
matches
0"melted"
1"THEY FOLLOW."
2"by"
3"about"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
84.84% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions48
wordCount1151
uniqueNames11
maxNameDensity1.3
worstName"Harlow"
maxWindowNameDensity2
worstWindowName"Harlow"
discoveredNames
Harlow15
Quinn1
Camden1
Davies13
Veil5
Market2
Compass3
Finch5
Eva1
Alistair1
Morris1
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Compass"
4"Finch"
5"Eva"
6"Alistair"
7"Morris"
places
0"Veil"
globalScore0.848
windowScore1
89.02% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount2
matches
0"as if solving a puzzle"
1"as if searching for a signal, its movements growing more agitated the closer she brought it to Alistair Finch’s body"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.623
wordCount1605
matches
0"not of pain, but of profound astonishment, his mouth a small 'o'"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences139
matches
0"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs41
mean39.15
std25.34
cv0.647
sampleLengths
098
149
294
337
469
542
673
73
839
947
1048
1154
1210
1331
1428
1540
1611
1758
1855
1997
2018
2118
2219
2318
2436
2575
2645
2738
285
2958
3021
3167
3258
3323
3429
352
3616
3729
389
3926
4012
93.37% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences118
matches
0"was supposed"
1"was frozen"
2"were fixed"
3"was *melted"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount8
totalVerbs180
matches
0"wasn't coming"
1"was coming"
2"was twitching"
3"was rotating"
4"was straining"
5"was emanating"
6"was trying"
7"was spinning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences139
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount671
adjectiveStacks0
stackExamples(empty)
adverbCount16
adverbRatio0.02384500745156483
lyAdverbCount2
lyAdverbRatio0.0029806259314456036
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences139
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences139
mean11.55
std8.39
cv0.727
sampleLengths
04
118
233
34
417
522
617
79
823
93
108
117
129
1320
1414
1517
1614
172
1812
1925
206
218
2210
2314
2410
2517
264
2716
2826
2917
308
314
324
3315
3411
359
365
372
381
3929
4010
416
4241
433
4416
455
468
479
487
4913
49.40% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.35251798561151076
totalSentences139
uniqueOpeners49
90.09% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences111
matches
0"Instead, the fine droplets streaked"
1"Just bare brickwork and decades"
2"Just the oppressive silence of"
ratio0.027
68.65% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences111
matches
0"It wasn't the amount, though"
1"It was the pattern."
2"He pointed a latex-gloved finger"
3"Her eyes, sharp and brown,"
4"Her worn leather watch, a"
5"Her informant had whispered of"
6"Her gaze traced the unnatural"
7"She crouched, the knees of"
8"Her military bearing meant she"
9"She resisted the urge to"
10"she repeated softly"
11"She scanned the edges of"
12"She pointed to a crushed"
13"He saw a crime scene."
14"She saw a violation of"
15"She stood and moved to"
16"His eyes, milky in death,"
17"she asked, not looking at"
18"She nodded to the evidence"
19"He held it up."
ratio0.378
23.06% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount97
totalSentences111
matches
0"The blood was wrong."
1"Detective Harlow Quinn knew it"
2"It wasn't the amount, though"
3"It was the pattern."
4"The arterial spray didn't arc"
5"DS Davies said, his voice"
6"He pointed a latex-gloved finger"
7"Harlow didn't answer."
8"Her eyes, sharp and brown,"
9"The platform was a graveyard"
10"The air hung thick with"
11"Her worn leather watch, a"
12"The Veil Market was supposed"
13"Her informant had whispered of"
14"Davies continued, flipping open his"
15"Her gaze traced the unnatural"
16"The ceiling was a good"
17"She crouched, the knees of"
18"Her military bearing meant she"
19"Davies kicked at a loose"
ratio0.874
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences111
matches(empty)
ratio0
93.02% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount3
matches
0"Harlow reached into her coat pocket, her fingers brushing the cool, brass casing of the Veil Compass."
1"It was a small brass device, its casing verdigris-stained, its face etched with protective sigils that hummed faintly to her fingertips."
2"It was rotating in slow, jerky arcs, as if searching for a signal, its movements growing more agitated the closer she brought it to Alistair Finch’s body."
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount3
matches
0"DS Davies said, his voice echoing slightly in the vast, dead space"
1"she asked, not looking at Davies"
2"she said, her voice low"
78.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"Davies continued (continue)"
1"she repeated softly (repeat)"
2"Davies surmised (surmise)"
dialogueSentences42
tagDensity0.238
leniency0.476
rawRatio0.3
effectiveRatio0.143
82.3768%