Run: 2026-04-24-01KQ025WSHVGGPFERPSYQY2682

Run Details

Duration:
28.7s
Cost:
$0.005782
Provider:
Xiaomi

Model input

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

Model response

AI
The rain had turned Cheapside into a slick, black mirror, reflecting the neon promises of late-night takeaways and the jaundiced glow of streetlamps. Detective Harlow Quinn’s breath plumed in front of her, a ragged counterpoint to the controlled burn in her lungs. Her quarry, a wiry silhouette in a grey hoodie, was fast. Faster than she’d anticipated from the CCTV stills. He vaulted a discarded newspaper stand, landing with a splash in a puddle the colour of engine oil. “Control, suspect heading south on Gresham Street, towards London Wall. On foot. Requesting backup, grid reference…” She skidded around a corner, her worn leather watch slapping against her wrist. The voice in her earpiece was tinny, distant, swallowed by the city’s ambient roar. “*Negative, Quinn. All units tied up with a major incident at Aldgate. ETA thirty minutes.*” Thirty minutes. The suspect would be in the wind in thirty seconds. She saw him glance back, a brief flash of a pale face, sharp features. Not fear. Annoyance. That’s when she knew she had the right man. This wasn’t some junkie fleeing a bag snatch. This was professional. He cut through an alley, a narrow canyon of brick and overflowing bins. Quinn followed, her sensible shoes finding no purchase on the slime-slicked cobbles. Her shoulder clipped a skip, sending a cascade of empty wine bottles shattering into a symphony of glass and fury. She ignored it. The alley spat them out onto a wider street, and the suspect veered left, towards the darker, quieter stretch that bordered the old market district. The rain intensified, a sudden downpour that hammered the pavement. Quinn’s salt-and-pepper hair, cropped close, plastered to her skull. Her sharp jaw was set, a muscle twitching near her ear. DS Morris had chased a similar ghost three years ago. A whisper in a file, a shadow in an alley. And then nothing. Just a case file marked ‘Closed’ and a silence that screamed louder than any confession. *Focus. This one’s flesh and blood.* The suspect plunged down a set of worn stone steps, disappearing into a maw of darkness beneath a kebab shop’s fluorescent glare. A disused Tube entrance. Old, forgotten, sealed off decades ago. Or so the transport maps claimed. Quinn reached the top of the stairs. The air rising from below was cool and damp, thick with the smell of mildew, ozone, and something else. Something sharp and metallic, like old coins and rusted iron. It prickled at the back of her throat. Her hand went to her hip, fingers brushing the hard plastic of her baton. Her radio was useless down here. No signal. The city’s hum faded, replaced by a profound, dripping silence. She fished a heavy-duty torch from her coat pocket, its beam cutting a nervous, bobbing cone into the gloom. The steps were steep, uneven. Her torchlight caught fragments: a faded poster for a band that disbanded in the nineties, a discarded syringe case, the iridescent gleam of a beetle scurrying into a crack. The metallic scent grew stronger, mingling now with the dry, papery smell of very old stone. At the bottom, a long, curving corridor stretched into blackness. The suspect’s footprints, wet and distinct, marked the grimy concrete. He wasn’t running anymore. Walking. Calm. That was worse. She followed, torch held high. The tunnel opened into a wider concourse. A ghost station. Rusted tracks lay skeletal in the murk. A tiled mosaic on the far wall, a faded poster girl with a V for Victory smile, watched her with empty eyes. The suspect was halfway across the concourse, heading for a maintenance door marked with a radiation symbol. He paused, looked back. This time, he didn’t just glance. He stared. A brief, knowing nod. Then he shouldered through the door and was gone. Quinn’s boots crunched on broken glass and gravel. The silence here was immense, a physical weight. Her torch beam caught a glint on the floor. Not glass. A coin. Old, tarnished, depicting a raven’s head she didn’t recognise. She nudged it with her toe. It felt too heavy for its size. The maintenance door was cold iron, pitted with rust. It swung open not into a service corridor, but onto a wide, stone staircase spiralling downwards. A warmer, drier air wafted up, carrying a cacophony of muted voices, the clink of glass, and the unmistakable thrum of low-frequency music. The metallic smell was overpowering here, a curtain she had to push through. Her training screamed at her. Call it in. Wait for backup.未知 territory, no communication, a suspect with an eerie confidence. But the image of Morris’s empty desk rose, unbidden. The half-finished coffee, the pen clipped to a notebook. The official reason was ‘misadventure’. Quinn knew better. Misadventures didn’t leave stains on the ceiling tiles that wouldn’t scrub out. She took the stairs, one hand trailing the cold, damp wall. The music grew louder, the voices coalescing into a dull roar. The spiral ended at another door, this one made of dark, polished wood, incongruously elegant. A small, bone-white token was embedded in the centre, shaped like a stylized key. She pushed it. It didn’t move. She pushed again, harder. Nothing. A panel beside the door slid open with a pneumatic hiss. A pair of eyes, ancient and weary in a face like crumpled parchment, peered at her from the darkness within. “No token, no entry,” a voice rasped, the accent undecipherable. Quinn flashed her warrant card. “Metropolitan Police. That’s my ticket.” The eyes didn’t even flicker to the card. “Policeman’s truncheon, not a key. Your symbol has no purchase here.” The suspect was beyond that door. She could feel it. The case, the ghost of her partner, all of it was coiled up on the other side. She holstered her torch, its beam suddenly an intrusion. Her hand slipped into her pocket, fingers closing around a handful of change from her last coffee. She pulled out the coins, letting them clatter into the small metal dish beside the panel. Pounds, pence, a few foreign bits. The ancient eyes surveyed the mundane currency. Then, slowly, the corner of the mouth crinkled. It might have been a smile. “Desperation,” the voice rasped. “A token of its own sort. The Market respects intention.” A heavy bolt clunked from within. The polished wood door swung inward. The air that hit her was a living thing. It smelled of roasting meat, exotic spices, melting wax, and the sharp ozone tang of magic she had no name for. It was a cavernous space, carved from the earth beneath London. Stalls and tables crowded a central thoroughfare, lit by a constellation of bare bulbs, flickering candles, and things that glowed with a sickly, beautiful luminescence. Figures moved in the shadows—hooded, cloaked, some with skin the wrong colour, some with too many fingers, some whose shadows danced to a different rhythm than their bodies. In the centre of the chaotic, thronging impossibility, the grey hoodie of her suspect was a mundane beacon. He was speaking to a hunched figure behind a stall made of what looked like polished bone. He turned, as if feeling her gaze, and this time, his smile was wide, sharp, and utterly without warmth. He beckoned with one long, pale finger, then slipped behind a curtain of hanging beads, swallowed by the deeper darkness of the market’s heart. Detective Harlow Quinn stood on the threshold, the solid, familiar world of rain-soaked London asphalt at her back, and the impossible, breathing darkness of the Veil Market before her. She checked her baton, its familiar weight a small comfort, and stepped inside. The door boomed shut behind her, the sound of the city cut off as cleanly as a severed artery.
created_at"2026-04-24T15:36:49.215Z" 4/24/2026, 3:36:49 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1467
moderation_latency(null)
generation_time28560
tokens_prompt4663
tokens_completion2389
native_tokens_prompt4209
native_tokens_completion2049
native_tokens_completion_images(null)
native_tokens_reasoning306
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.0057816
router(null)
provider_responses
0
endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
id"c7b3a0215d3245efaef105b81e012090"
is_byokfalse
latency1467
model_permaslug"xiaomi/mimo-v2.5-20260422"
provider_name"Xiaomi"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.1; linux; x64))"
http_referer(null)
request_id"req-1777045009-HtVsgOxe0dPnjjenrKP8"
session_id(null)
api_type"completions"
id"gen-1777045009-6L2l6qzxoOauwmoKG6So"
upstream_id"c7b3a0215d3245efaef105b81e012090"
total_cost0.0057816
cache_discount(null)
upstream_inference_cost0
provider_name"Xiaomi"
response_cache_source_id(null)

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount1
adverbTags
0"She skidded around [around]"
dialogueSentences7
tagDensity0.714
leniency1
rawRatio0.2
effectiveRatio0.2
84.48% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1289
totalAiIsmAdverbs4
found
0
adverb"very"
count1
1
adverb"suddenly"
count1
2
adverb"slowly"
count1
3
adverb"utterly"
count1
highlights
0"very"
1"suddenly"
2"slowly"
3"utterly"
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)
22.42% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1289
totalAiIsms20
found
0
word"symphony"
count1
1
word"whisper"
count1
2
word"silence"
count3
3
word"maw"
count1
4
word"profound"
count1
5
word"gloom"
count1
6
word"mosaic"
count1
7
word"weight"
count2
8
word"glint"
count1
9
word"cacophony"
count1
10
word"flicker"
count1
11
word"could feel"
count1
12
word"chaotic"
count1
13
word"beacon"
count1
14
word"warmth"
count1
15
word"familiar"
count2
highlights
0"symphony"
1"whisper"
2"silence"
3"maw"
4"profound"
5"gloom"
6"mosaic"
7"weight"
8"glint"
9"cacophony"
10"flicker"
11"could feel"
12"chaotic"
13"beacon"
14"warmth"
15"familiar"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences120
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences120
filterMatches
0"watch"
hedgeMatches(empty)
97.84% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences123
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen30
ratio0.008
matches
0"Wait for backup.未知 territory, no communication, a suspect with an eerie confidence."
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords21
totalWords1288
ratio0.016
matches
0"Negative, Quinn. All units tied up with a major incident at Aldgate. ETA thirty minutes."
1"Focus. This one’s flesh and blood."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions19
wordCount1215
uniqueNames9
maxNameDensity0.66
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Cheapside1
Harlow2
Quinn8
Morris2
Tube1
Victory1
London2
Veil1
Market1
persons
0"Harlow"
1"Quinn"
2"Morris"
places
0"London"
globalScore1
windowScore1
91.86% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences86
glossingSentenceCount2
matches
0"looked like polished bone"
1"as if feeling her gaze, and this time, his smile was wide, sharp, and utterly without warmth"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.776
wordCount1288
matches
0"not into a service corridor, but onto a wide, stone staircase spiralling downwards"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences123
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs26
mean49.54
std25.87
cv0.522
sampleLengths
079
143
215
349
473
568
66
782
851
950
1029
1186
1251
1361
1458
1562
1631
1710
1810
1919
2075
2121
2226
2394
2478
2561
96.49% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences120
matches
0"was gone"
1"was embedded"
2"was coiled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs185
matches
0"wasn’t running"
1"was speaking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences123
ratio0.008
matches
0"Figures moved in the shadows—hooded, cloaked, some with skin the wrong colour, some with too many fingers, some whose shadows danced to a different rhythm than their bodies."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount312
adjectiveStacks0
stackExamples(empty)
adverbCount4
adverbRatio0.01282051282051282
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences123
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences123
mean10.47
std6.93
cv0.662
sampleLengths
023
119
211
38
418
529
614
715
82
910
1014
112
121
139
148
153
1613
1712
1820
193
2025
2110
229
2311
2410
2510
263
2715
281
295
3022
314
326
336
347
3519
3610
378
3814
396
402
4110
4219
435
4429
4516
4610
4710
484
491
47.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3333333333333333
totalSentences123
uniqueOpeners41
91.74% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences109
matches
0"Just a case file marked"
1"Then he shouldered through the"
2"Then, slowly, the corner of"
ratio0.028
87.89% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences109
matches
0"Her quarry, a wiry silhouette"
1"He vaulted a discarded newspaper"
2"She skidded around a corner,"
3"She saw him glance back,"
4"He cut through an alley,"
5"Her shoulder clipped a skip,"
6"She ignored it."
7"Her sharp jaw was set,"
8"It prickled at the back"
9"Her hand went to her"
10"Her radio was useless down"
11"She fished a heavy-duty torch"
12"Her torchlight caught fragments: a"
13"He wasn’t running anymore."
14"She followed, torch held high."
15"He paused, looked back."
16"Her torch beam caught a"
17"She nudged it with her"
18"It felt too heavy for"
19"It swung open not into"
ratio0.33
28.81% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount94
totalSentences109
matches
0"The rain had turned Cheapside"
1"Detective Harlow Quinn’s breath plumed"
2"Her quarry, a wiry silhouette"
3"He vaulted a discarded newspaper"
4"She skidded around a corner,"
5"The voice in her earpiece"
6"The suspect would be in"
7"She saw him glance back,"
8"That’s when she knew she"
9"This wasn’t some junkie fleeing"
10"This was professional."
11"He cut through an alley,"
12"Quinn followed, her sensible shoes"
13"Her shoulder clipped a skip,"
14"She ignored it."
15"The alley spat them out"
16"The rain intensified, a sudden"
17"Quinn’s salt-and-pepper hair, cropped close,"
18"Her sharp jaw was set,"
19"DS Morris had chased a"
ratio0.862
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences109
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount3
matches
0"The alley spat them out onto a wider street, and the suspect veered left, towards the darker, quieter stretch that bordered the old market district."
1"Her torchlight caught fragments: a faded poster for a band that disbanded in the nineties, a discarded syringe case, the iridescent gleam of a beetle scurrying …"
2"Stalls and tables crowded a central thoroughfare, lit by a constellation of bare bulbs, flickering candles, and things that glowed with a sickly, beautiful lumi…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
84.9654%