Run: 2026-03-18-01KM0AGKPPPPVTSXZH94EBZR7G

Run Details

Duration:
28.7s
Cost:
$0.021122
Provider:
OpenAI

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
Quinn caught the shine of the medallion first, a quick silver flash at the throat of the runner ahead, then the man himself lunged into traffic and made three cars stamp their brakes into a snarling chorus. “Herrera.” He looked back once, just long enough for the green neon above The Raven’s Nest to splash over his face. Olive skin. Short curls plastered to his forehead. That scar along his left forearm, white as wire when he shoved his sleeve back to sprint harder. Quinn drove after him, shoulder low, shoes striking the wet pavement with sharp, hard slaps. A black cab cut between them and the runner cleared it with a sideways leap that sent water off the bonnet in a spray. Quinn hit the gap a breath later, hand out, fingers grazing nothing but rain and exhaust. He cut left into Old Compton Street, past a fried chicken shop with a fogged window and a queue of smokers huddled under a broken awning. Someone shouted when Quinn barged through the line. She flashed her badge without slowing. “Met Police. Move.” The runner did not look back. He clipped a delivery bike, sent the rider spinning into a wall, and vanished round a corner that stank of wet brick and old grease. Quinn rounded it hard enough to scrape her shoulder on a drainpipe. There. He had the lead again, a slim figure in a dark coat, one hand locked around something tucked under his ribs. His left forearm showed when he ran, the old knife scar flickering pale in the street glow. Quinn knew that arm. She had seen it in a hospital corridor six months ago when she dragged a burglary victim off a stretcher for questioning. Tomás Herrera had kept his mouth shut then, with that saint’s medallion resting at his throat like a warning. He shoved through a knot of tourists and hit a side street lined with shuttered cafés and a florist already drowned in buckets and black plastic. Quinn’s lungs burned. She kept him in sight as he darted through puddles, boots kicking up dirty arcs of water that slapped her shins. A bus hissed at the kerb. A woman with a takeaway bag swore at the pair of them from beneath her hood. Tomás skidded under a half-lowered roller shutter, ducked, and vanished into The Raven’s Nest. Quinn hit the doorway a second later. The green neon sign above her buzzed and spat reflected colour into the rain. Warm, stale air rolled out with the smell of beer, damp wool, and old paper. The walls wore black-and-white photographs of men with cigarette smoke curling round their faces, and maps yellowed at the edges. Every table inside had gone still. Tomás crossed the bar without slowing. “Get out of the way.” A glass clinked somewhere behind the counter. No one moved. Quinn shoved past the nearest stool, boots sliding on a slick patch of spilt spirit. She saw him at the far wall, one hand already on a bookshelf loaded with cracked hardbacks and dead trinkets. He hauled a leather-spined volume aside. The shelf swung inward. “Funny thing about running, Herrera, it ends.” He glanced over his shoulder, jaw tight, eyes bright and hard. “Not for me.” He slipped through the gap. Quinn lunged. Her hand struck wood, not flesh. The hidden door swung on concealed hinges and swallowed him. She drove a palm into the bookshelves, and the whole unit shuddered but held. A man at the bar lowered his pint glass with care. The shelf opened again, narrow and dark beyond it. Quinn stepped through without waiting for a welcome. The back room felt like a throat. The bar noise cut off behind her, replaced by the hum of old pipework and the faint scuff of shoes on concrete below. A single bulb hung from the ceiling and swung on its wire, casting a jaundiced circle over a steep stairwell that dropped into black. Tomás’s footsteps knocked down the stairs fast and light. Quinn followed. The air changed at once. Cold bit her face. Damp stone pressed close on both sides. The smell shifted too, from beer and dust to metal, mould, and something sharper, medicinal, a sting of herbs crushed under a heel. A hidden market waited below, breathing through the bones of the city. The stairwell spat her into a wide platform beneath an abandoned Tube station. Camden, if the faded roundel on the tiled wall still told the truth. Someone had stripped the seats away and left the platform bare except for cables, racks of tarps, and iron stalls lit by shaded lamps. The place hummed with low voices. Cloth rustled. Glass chimed. A man in a waxed coat counted coins over a tray of charms made from teeth and wire. Farther down, a woman with white braids weighed a packet of black powder on brass scales. The Veil Market. Quinn had heard the name from informants who spat after they said it. She had not believed half of what they said. She believed enough now. Tomás stood three stalls ahead, one hand flat against a counter of scarred oak while a seller with a fox skull mask slid something towards him wrapped in oilcloth. He did not turn as Quinn stepped off the last stair. He heard her anyway. His shoulders tightened under his coat. A man at the platform edge, broad as a crate and dressed in a dark suit that had no right to survive in this damp, glanced at Quinn’s badge and went still. His eyes flicked to a bone token hanging from a hook by the stair rail, then to her face. “No badge.” Quinn stared at him. “Police.” The man did not blink. “Not here.” Tomás snatched the oilcloth packet, shoved a coin across the counter, and shoved into the press of bodies between the stalls. Quinn moved after him. A hanging string of dried herbs brushed her cheek. She ducked under it and caught a glimpse of items laid out under glass, a jar of grey feathers, a ring that seemed to swallow the light around it, a hand mirror with its silver gone dark at the centre. People watched her from under hoods, from behind veils, from behind masks cut from animal bone. “Tomás!” He cut round a stall draped with old hospital curtains. Quinn followed, shoulder clipping the frame. A woman with a scarred throat stared at Quinn’s badge, then pressed two fingers to her lips. Tomás pushed into a narrow lane between stalls and drew up at a chain barrier stretched across a side arch. A slab of old masonry sat above it, carved with a shallow bowl. A pale hook of bone hung from a leather thong beside the arch. Tomás lifted it, and the chain dipped. Quinn came hard on his heels. “Stop.” He looked at her then, fully, and the set of his mouth told her this chase had dragged him past patience and into something else. “You should not be here.” “I am here because you ran.” “I ran because you came.” Quinn came closer, one hand low near her holster. “Everything about that sounds guilty.” He gave a short, humourless laugh and shoved the bone token into the bowl above the arch. The stone swallowed it with a dry click. A seam appeared in the wall, thin as a knife cut. Air spilled out from inside, colder, wet with mineral stink and the faint bite of something burnt. Quinn reached for his wrist. He twisted out of her grasp with a speed that came from practice, not panic, and the oilcloth packet bumped against his ribs as he moved. “Hand it over.” “No.” “What is it?” “Not yours.” A woman’s voice snapped from the lane behind them. “Token’s been keyed. Move it.” Quinn turned. Two men had stepped out from behind a stall, both in heavy coats with their hands folded in front of them. One wore a smooth white mask. The other had a strip of scar tissue over one cheek and a butcher’s apron over jeans. Neither looked pleased. Tomás’s eyes flicked to them, then to Quinn. “Last chance.” “Tell me what’s under there.” His mouth tightened. He leaned in, close enough that she caught soap, rain, and antiseptic on his coat. “You do not want a list.” The arch cracked wider. Dark stairs opened beyond it, descending into a deeper level. A pressure moved through the passage, as if the station itself had inhaled. Quinn caught sound from below, not voices exactly, more a hush of bargaining, the scrape of crates, the soft ring of glass. The market did not end beneath Camden. It burrowed. Tomás stepped through the arch. Quinn grabbed his coat and hauled him back half a pace. The packet slipped from under his arm and struck the floor. Oilcloth peeled away from a small rib of bone etched with black lines. The token rolled, tapped the stone, and stopped against her boot. The men behind her moved at once. “Police.” “Bad idea.” “Too late.” Quinn bent and snatched the token. It felt warm, not from her hand, from something inside it. Tomás’s eyes widened for the first time. “Give that back.” “You can have it when you stop lying.” A hand clamped onto Quinn’s shoulder from behind. Hard fingers. Strong grip. She drove her elbow back into a ribs, felt a grunt, and twisted. The butcher’s apron man recovered fast and grabbed for her wrist. The white mask rose in front of her, blank and close, and a knife flashed low from his sleeve. Tomás slammed into the first man and sent him crashing into the chain barrier. Metal shrieked. Stalls down the lane turned as one. A glass vial hit the floor and shattered, and the air burst with a violent stink of peppermint and rot. “Down!” Quinn ducked the knife, swung the bone token across the attacker’s knuckles, and felt the crack through her palm. He howled. The second man seized her coat and ripped her sideways towards the arch. Her shoulder struck the stone. Pain burst bright through her arm. Then the stairs below answered. A deep bell sounded once, not from above or below, but from everywhere at once. The market froze. Heads turned. Somewhere down in the dark, a voice called out, low and furious. “No police in the market.” The arch behind Quinn went black as a lid dropped over it. Something heavy locked into place on the far side. Tomás stared past her shoulder, face gone pale under the station light. “Quinn,” he said, and this time the name came out as a warning. The first scream tore up from the stairs below, and every stall in the station snapped shut at once.
created_at"2026-03-18T11:15:23.505Z" 3/18/2026, 11:15:23 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency23582
moderation_latency(null)
generation_time28312
tokens_prompt4663
tokens_completion3871
native_tokens_prompt4132
native_tokens_completion4581
native_tokens_completion_images0
native_tokens_reasoning2336
native_tokens_cached3840
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"completed"
usage0.0211215
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0de3799c247162410169ba894b9abc8196876640eb1229a34a"
is_byokfalse
latency263
model_permaslug"openai/gpt-5.4-mini-20260317"
provider_name"OpenAI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773832523-IXoust38NuKtGxyPoTtD"
upstream_id"resp_0de3799c247162410169ba894b9abc8196876640eb1229a34a"
total_cost0.0211215
cache_discount0.002592
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences30
tagDensity0.033
leniency0.067
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1804
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
86.14% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1804
totalAiIsms5
found
0
word"footsteps"
count1
1
word"flicked"
count2
2
word"etched"
count1
3
word"shattered"
count1
highlights
0"footsteps"
1"flicked"
2"etched"
3"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences147
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences147
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences176
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1804
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
62.13% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions56
wordCount1707
uniqueNames12
maxNameDensity1.76
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Raven2
Nest2
Old1
Compton1
Street1
Quinn30
Herrera1
Tube1
Veil1
Market1
Camden2
Tomás13
persons
0"Raven"
1"Quinn"
2"Herrera"
3"Market"
4"Tomás"
places
0"Old"
1"Compton"
2"Street"
globalScore0.621
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences113
glossingSentenceCount2
matches
0"felt like a throat"
1"ring that seemed to swallow the light around it, a hand mirror with its silver gone dark at the centre"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.554
wordCount1804
matches
0"not from above or below, but from everywhere at once"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences176
matches
0"knew that arm"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs82
mean22
std23.84
cv1.084
sampleLengths
037
11
246
355
440
53
643
71
883
972
1014
1162
126
135
1410
1545
167
1711
183
195
2043
2117
2254
239
242
2551
2694
273
2826
2950
3051
312
324
331
345
352
3690
371
3833
3953
406
411
4225
435
446
455
469
475
4853
4931
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences147
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs269
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences176
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1711
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.025131502045587374
lyAdverbCount2
lyAdverbRatio0.0011689070718877848
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences176
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences176
mean10.25
std7.72
cv0.753
sampleLengths
037
11
220
32
46
518
615
724
816
926
108
116
123
136
1425
1512
161
1721
1817
194
2022
2119
2226
233
2421
256
2616
2714
287
2914
3015
3120
326
336
345
357
363
3715
3820
396
404
417
4211
433
445
452
466
4710
4814
4911
50.38% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.32954545454545453
totalSentences176
uniqueOpeners58
49.75% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences134
matches
0"Then the stairs below answered."
1"Somewhere down in the dark,"
ratio0.015
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences134
matches
0"He looked back once, just"
1"He cut left into Old"
2"She flashed her badge without"
3"He clipped a delivery bike,"
4"He had the lead again,"
5"His left forearm showed when"
6"She had seen it in"
7"He shoved through a knot"
8"She kept him in sight"
9"She saw him at the"
10"He hauled a leather-spined volume"
11"He glanced over his shoulder,"
12"He slipped through the gap."
13"Her hand struck wood, not"
14"She drove a palm into"
15"She had not believed half"
16"She believed enough now."
17"He did not turn as"
18"He heard her anyway."
19"His shoulders tightened under his"
ratio0.239
1.04% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount123
totalSentences134
matches
0"Quinn caught the shine of"
1"He looked back once, just"
2"That scar along his left"
3"Quinn drove after him, shoulder"
4"A black cab cut between"
5"Quinn hit the gap a"
6"He cut left into Old"
7"Someone shouted when Quinn barged"
8"She flashed her badge without"
9"The runner did not look"
10"He clipped a delivery bike,"
11"Quinn rounded it hard enough"
12"He had the lead again,"
13"His left forearm showed when"
14"Quinn knew that arm."
15"She had seen it in"
16"Tomás Herrera had kept his"
17"He shoved through a knot"
18"Quinn’s lungs burned."
19"She kept him in sight"
ratio0.918
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences134
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences76
technicalSentenceCount3
matches
0"She kept him in sight as he darted through puddles, boots kicking up dirty arcs of water that slapped her shins."
1"A single bulb hung from the ceiling and swung on its wire, casting a jaundiced circle over a steep stairwell that dropped into black."
2"A man at the platform edge, broad as a crate and dressed in a dark suit that had no right to survive in this damp, glanced at Quinn’s badge and went still."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences30
tagDensity0.033
leniency0.067
rawRatio0
effectiveRatio0
88.3148%