Run: 2026-04-24-01KQ03BDDRGZ35KC4AWNCBTGEM

Run Details

Duration:
41.1s
Cost:
$0.006438
Provider:
Xiaomi

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 body wore no shoes. That was the first wrong thing. Detective Harlow Quinn crouched beside the corpse and noted it in her mind, filing it alongside the rest: the pristine white shirt with no blood despite the wound, the wrists bearing faint ligature marks that hadn't come from rope, and the expression of absolute terror frozen on a face that, according to the identification found in his pocket, belonged to one Marcus Webb, twenty-nine, no fixed abode. "CSU's got nothing useful." DS Danny Parrish approached from behind, his trainers squeaking on the damp tile. He was twenty-six, fresh from his promotion, with a face that still looked like it needed shaving every other day. "Uniforms were first on scene. They say the place was sealed up when they arrived." "Sealed how?" "Doors chained from the inside. Windows boarded." Parrish flipped open his notebook. "They had to cut through a side gate to get in." Quinn straightened up. Her knees cracked, a souvenir from a football injury in the Met's recreational league. The basement space stretched around them, low-ceilinged and damp, beneath what had once been a Georgian townhouse in Bloomsbury. Someone had hollowed out the foundations and created something that looked less like storage and more like a ritual space. Concrete floor, yes, but stained with concentric circles drawn in something dark. Candles, half-melted, arranged in patterns along the walls. A smell that clung to the back of the throat, copper and something sweeter, like overripe fruit. "The place is an abandoned property," she said. "According to the council, yes. Sold in a distressed sale six months ago. Buyer used a shell company." Parrish held up his phone. "Can't trace it past a registered office in Belize." "Belize." "Mm." Quinn circled the body again. Webb lay on his back, arms spread wide, legs together. The wound sat centre-chest, a dark puncture that had bled little. That was the second wrong thing. A stab wound, deep enough to kill, should have bled profusely. This one looked as if someone had pressed a needle into a water balloon that had already been emptied. "He wasn't killed here," she said. Parrish looked up from his notebook. "Sir?" "Look at the blood. There's none. A wound that size produces litres. Either he was killed elsewhere and posed here, or there's something about this wound I'm not seeing." "The pathologist is en route." "Twenty minutes away. I can count." Quinn pulled on nitrile gloves and crouched again, angling her phone's torch into the wound. The edges were clean. No tearing, no hesitation marks, no defensive slashes on the hands. Just one perfect, circular hole, as if something narrow had simply passed through him. "Detective." A voice echoed from the stairwell. DI Ray Okonkwo descended, his considerable frame filling the narrow steps. He'd been her partner for eleven months, ever since she'd requested someone from another borough. Someone who didn't know about Morris. "You'll want to see this." "Already have plenty to see." "This is different." He beckoned with a tilt of his head. "Corner. Behind the pillar." Quinn followed him across the basement. The candles here were different, taller, black, arranged in a spiral. At the centre sat a stone basin, grey and rough-hewn, containing a dark liquid that was not blood. It moved, faintly, as if breathing. Quinn stared at it. "What is it?" "Lab will tell us. I can tell you it's not in any database I've access to." Okonkwo pointed to the basin's rim. "And those." Etched into the stone, so fine they were nearly invisible, symbols. Not letters, not any alphabet Quinn recognised. They curved and interlocked, forming a pattern that hurt her eyes if she looked too long. "Photos?" she asked. "Started as soon as I found them. But there's more." He reached into his jacket pocket and produced an evidence bag. Inside sat a small brass compass, its face etched with similar symbols to the ones on the basin. The needle spun lazily, no magnetic north to anchor it. "Found it six feet from the body. No prints on the casing. It's old, the patina's genuine." Quinn took the bag and held it up. The brass caught the torchlight, green and dark. The needle slowed, then stopped, pointing directly at her chest. She turned the bag. The needle swung to follow. "Give me that." Parrish reached for it, curious. Quinn held it away, watching the needle swing back toward her as she moved. "Magnetism?" he suggested. "Then it would point at my phone, my belt buckle, my watch." She set the bag on the floor. The needle settled, pointing north like any normal compass. She stepped away and returned. It swung back toward her. "Quinn." Okonkwo's voice held a careful neutrality. "You're carrying something." "I carry a service weapon, a phone, and a warrant card. Same as you." "That compass was made by someone who knew what they were doing." He gestured to the basin, the symbols, the candles. "This whole setup isn't amateur hour. Someone went to considerable effort." Quinn stared down at the body. Marcus Webb. Twenty-nine. No fixed abode. She pulled his wallet from the evidence bag and examined the contents again. Driving licence, expired. A bus pass. Three pound coins. And a photograph, creased and faded, of Webb standing outside a pub with two other young men, all of them grinning, all of them holding pints. Behind them, barely visible, a sign read THE VEIL. She'd heard the name. Every copper in London had, in the context of rumours. A market, supposedly. Underground. Selling things you couldn't buy in the daylight world. The kind of story that got passed around at pubs after the third pint, laughed about over kebabs at two in the morning. Nobody credible had ever confirmed it existed. "His phone?" she asked. "Pocket, no password lock. Social media shows last posts three weeks ago. Mostly memes. Nothing relevant." Parrish scrolled through his own phone. "Bank account's dry. No transactions since February. He was living on cash, whatever cash he could get." "Prior convictions?" "Theft, common assault, possession with intent. Served six months in Belmarsh, released last year." Parrish looked up. "Small-time. A nobody." "Nobody gets a ritual killing in a sealed basement." Quinn crouched beside Webb one final time. Close now. Close enough to see the individual pores on his skin, the fine hairs on his forearms, the way his eyes stared at the ceiling with an expression that went beyond fear into something else entirely. Recognition. He'd seen his killer and he'd known them. Known what they were. She tilted his head gently. Behind the left ear, almost hidden in the hairline, a mark. Not a wound. A brand, burned into the skin in the same curling script as the symbols on the basin. "DS Parrish. Come look at this." He crouched beside her, his brow furrowing. "That's not normal." "Nothing here is normal." Quinn stood. "I want a full forensics sweep of every surface. Lift prints from the candles, the basin, the door handles. I want the chain analysed. I want the soil samples from those stains on the floor, and I want them tested for everything, including things we don't have tests for yet." "Sir, without a specific test to run—" "Then find a lab that can identify the unknown and run it against that." She pointed to the basin. "And get me everything on Marcus Webb. Employment history, associates, the lot. I want to know where he slept, what he ate, and who he spoke to in the last six months of his life." Okonkwo caught her eye. He'd been watching this whole exchange with the careful attention of a man who'd learned when to speak and when to listen. Now he tilted his head toward the stairs. "A word?" They climbed out of the basement into the ground floor of the townhouse. Dust motes drifted in the light from the single window that the CSU hadn't yet boarded. The space smelled of old wood and plaster dust and something underneath it, the same sweet-rot smell from below, seeping up through the floorboards. "Morris," Okonkwo said. "Don't." "He died in a place like this. You know he did." Quinn said nothing. She stared at the floor. Three years ago, she and Detective Sergeant Ian Morris had answered a call about a disturbance in a disused warehouse in Bermondsey. What they'd found hadn't matched any protocol in the handbook. Morris had gone in ahead of her. She'd found him twenty minutes later, alive but unresponsive, his eyes open and focused on something she couldn't see. He'd died in hospital four days later. No cause of death. No evidence of injury. Brain scans showed nothing, and then everything, and then nothing again. "I know what I know," she said. "That doesn't change the job." "The job is to find who killed this man." "The job is to follow evidence." She turned to face him. "And the evidence says someone wanted us to find this body. Chained the doors from inside, posed the victim, left the compass and the basin for us to find. They wanted a detective standing right where I'm standing." "Or they wanted any detective." "No. They wanted me." She pulled the evidence bag with the compass from her pocket. The needle pointed at her, steady as a finger. "This was at the Veil Market. The photograph in his wallet. The name on the sign. It all connects." "The Veil Market's a myth." "So was this basement." She held up the compass. "Until someone built it and killed a man inside it." From below, a shout. Parrish's voice, sharp with alarm. "Detective! You need to see this. Now." Quinn descended the stairs two at a time, Okonkwo behind her. Parrish stood at the far end of the basement, his phone's torch aimed at the wall. The candles she'd noted earlier, the tall black ones, had lit themselves. All of them. A dozen flames flickered in perfect unison, casting shadows that moved in directions the light shouldn't allow. "Nobody touched them," Parrish said. His voice held steady but his free hand had gone to his weapon. "I swear, nobody touched them." The flames brightened. The symbols on the basin began to glow, faintly at first, then stronger, a deep violet that pulsed like a heartbeat. The liquid inside stirred, breaking its still surface, rising in a thin column that twisted and reached toward the ceiling. Quinn felt the compass grow warm in her hand. The needle spun wildly, then locked onto the rising column and stayed. A sound filled the basement. Not a voice. Not music. A vibration that lived in the teeth and the bones and the base of the skull, a frequency that made the air feel thick and heavy. "Get out," Quinn said. "Sir—" "All of you. Now. Call for backup. Call for specialists. I don't care who, but get everyone out of this building." Okonkwo grabbed Parrish's arm and pulled him toward the stairs. Quinn didn't move. She watched the column of liquid reach the ceiling and spread, forming a shape. A doorway. An arch of black fluid hanging impossibly in the air, its surface rippling like the skin of a drum. Through it, she saw a place. Tunnels. Candlelight. Stalls draped in dark cloth, laden with objects that gleamed and shifted. Figures moving between them, hooded, faceless, alive. The Veil Market. The compass in her hand went hot, then cold, then still. The needle pointed through the archway. Straight and true. Behind her, boots on the stairs. Not Parrish. Not Okonkwo. Heavy boots, measured pace. Someone who walked like they owned every step they took. "Detective Quinn." A voice she hadn't heard in three years. Not since the hospital. Not since Morris flatlined while she held his hand and felt something leave his body that she had no name for. "I've been waiting for you." She turned. The man on the stairs wore DS Ian Morris's face, DS Ian Morris's clothes, DS Ian Morris's watch. But his eyes were wrong. They caught the violet light from the archway and reflected it back, two pale moons where brown irises should have been. "The compass," Morris said. Or whatever wore his skin. "You brought it just as they said you would." The archway pulsed. The candles burned brighter. The compass needle spun once, twice, and settled. It pointed at her chest. Quinn drew her weapon.
created_at"2026-04-24T15:57:18.664Z" 4/24/2026, 3:57:18 PM
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags30
adverbTagCount0
adverbTags(empty)
dialogueSentences73
tagDensity0.411
leniency0.822
rawRatio0
effectiveRatio0
95.19% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2081
totalAiIsmAdverbs2
found
0
adverb"lazily"
count1
1
adverb"gently"
count1
highlights
0"lazily"
1"gently"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Marcus"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
68.77% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2081
totalAiIsms13
found
0
word"pristine"
count1
1
word"perfect"
count2
2
word"echoed"
count1
3
word"database"
count1
4
word"etched"
count2
5
word"magnetic"
count1
6
word"furrowing"
count1
7
word"flickered"
count1
8
word"pulsed"
count2
9
word"measured"
count1
highlights
0"pristine"
1"perfect"
2"echoed"
3"database"
4"etched"
5"magnetic"
6"furrowing"
7"flickered"
8"pulsed"
9"measured"
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
narrationSentences166
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences166
filterMatches
0"feel"
1"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences209
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen68
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2081
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions23
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions71
wordCount1474
uniqueNames20
maxNameDensity1.22
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn18
Marcus2
Webb5
Danny1
Parrish12
Met1
Georgian1
Bloomsbury1
Ray1
Okonkwo8
Morris8
Etched1
London1
Detective2
Sergeant1
Ian4
Bermondsey1
Veil1
Market1
persons
0"Harlow"
1"Quinn"
2"Marcus"
3"Webb"
4"Danny"
5"Parrish"
6"Ray"
7"Okonkwo"
8"Morris"
9"Sergeant"
10"Ian"
places
0"Met"
1"Bloomsbury"
2"London"
3"Bermondsey"
globalScore0.889
windowScore0.833
97.92% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount2
matches
0"looked like it needed shaving every other"
1"as if breathing"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2081
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences209
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs80
mean26.01
std22.89
cv0.88
sampleLengths
011
167
252
32
423
593
68
732
81
91
1062
116
127
1329
145
1550
1644
175
1815
1945
203
2124
2234
233
2466
2526
269
2722
283
2938
3010
3114
3232
3369
3457
354
3639
372
3820
399
4057
4136
426
4310
4456
457
4654
4734
482
4953
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences166
matches
0"been emptied"
1"got passed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs244
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences209
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1482
adjectiveStacks0
stackExamples(empty)
adverbCount48
adverbRatio0.032388663967611336
lyAdverbCount13
lyAdverbRatio0.008771929824561403
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences209
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences209
mean9.96
std8.62
cv0.866
sampleLengths
05
16
267
317
420
515
62
712
811
93
1014
1119
1220
1312
148
1517
168
1723
189
191
201
215
2210
2311
246
2511
2619
276
286
291
3029
315
3221
334
3411
3514
367
3711
3815
396
405
415
4211
434
446
4511
4618
476
484
493
63.16% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.41626794258373206
totalSentences209
uniqueOpeners87
23.31% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences143
matches
0"Just one perfect, circular hole,"
ratio0.007
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences143
matches
0"He was twenty-six, fresh from"
1"Her knees cracked, a souvenir"
2"He'd been her partner for"
3"He beckoned with a tilt"
4"It moved, faintly, as if"
5"They curved and interlocked, forming"
6"He reached into his jacket"
7"She turned the bag."
8"She set the bag on"
9"She stepped away and returned."
10"It swung back toward her."
11"He gestured to the basin,"
12"She pulled his wallet from"
13"She'd heard the name."
14"He'd seen his killer and"
15"She tilted his head gently."
16"He crouched beside her, his"
17"She pointed to the basin"
18"He'd been watching this whole"
19"They climbed out of the"
ratio0.21
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount102
totalSentences143
matches
0"The body wore no shoes."
1"That was the first wrong"
2"Detective Harlow Quinn crouched beside"
3"DS Danny Parrish approached from"
4"He was twenty-six, fresh from"
5"Quinn straightened up."
6"Her knees cracked, a souvenir"
7"The basement space stretched around"
8"Someone had hollowed out the"
9"Candles, half-melted, arranged in patterns"
10"A smell that clung to"
11"Quinn circled the body again."
12"Webb lay on his back,"
13"The wound sat centre-chest, a"
14"That was the second wrong"
15"A stab wound, deep enough"
16"This one looked as if"
17"Quinn pulled on nitrile gloves"
18"The edges were clean."
19"A voice echoed from the"
ratio0.713
34.97% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences143
matches
0"Now he tilted his head"
ratio0.007
28.06% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount9
matches
0"Detective Harlow Quinn crouched beside the corpse and noted it in her mind, filing it alongside the rest: the pristine white shirt with no blood despite the wou…"
1"The wound sat centre-chest, a dark puncture that had bled little."
2"Just one perfect, circular hole, as if something narrow had simply passed through him."
3"At the centre sat a stone basin, grey and rough-hewn, containing a dark liquid that was not blood."
4"Close enough to see the individual pores on his skin, the fine hairs on his forearms, the way his eyes stared at the ceiling with an expression that went beyond…"
5"He'd been watching this whole exchange with the careful attention of a man who'd learned when to speak and when to listen."
6"The liquid inside stirred, breaking its still surface, rising in a thin column that twisted and reached toward the ceiling."
7"A vibration that lived in the teeth and the bones and the base of the skull, a frequency that made the air feel thick and heavy."
8"An arch of black fluid hanging impossibly in the air, its surface rippling like the skin of a drum."
75.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags30
uselessAdditionCount3
matches
0"DS Danny Parrish approached, his trainers squeaking on the damp tile"
1"Parrish reached, curious"
2"He gestured, the symbols, the candles"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount1
fancyTags
0"he suggested (suggest)"
dialogueSentences73
tagDensity0.137
leniency0.274
rawRatio0.1
effectiveRatio0.027
88.3235%