Run: 2026-04-24-01KQ03X87VE2CKCRGVWEV58TCT

Run Details

Duration:
28.3s
Cost:
$0.004498
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
Rain hammered the pavement, turning the neon reflection of a Soho kebab shop into a smear of violent pink. Detective Harlow Quinn’s worn leather watch slapped against her wrist as she pumped her arms, her breath pluming in the frigid air. The figure in the dark grey hoodie was twenty yards ahead, agile, cutting through the late-night detritus of bins and puddles with the ease of a practiced route. He’d glanced back twice. The second time, she’d seen his face—young, terrified. *Morris’s ghost whispered in the back of her mind. This is how it started last time. The fear. The run.* She shoved the thought down, her jaw tight enough to ache. Three years. She still hadn’t understood what had taken him, only that the official report was a fiction wrapped in bureaucratic silence. Now, this kid, this witness from the safe house fire, was her only lead to the same shadowy network. He veered left, down a narrow alley that reeked of stale beer and desperation. Quinn followed, her boots splashing through grimy water. The alley ended at a chain-link fence, half-torn from its moorings. He slipped through the gap like smoke. She cursed, bracing her hands against the cold metal, her suit jacket snagging. By the time she wrenched herself through, he was already at the next corner. The street here was quieter, older. The buildings leaned together overhead, muttering secrets to the rain. A green neon sign buzzed to her left: *The Raven’s Nest*. Silas’s bar. She’d been watching it for weeks. A known haunt for low-level informants and, she suspected, something more. The kid didn’t go in. He rounded the next corner. Her lungs burned. *Age is not a factor*, she told herself, the military drill sergeant’s voice a familiar, stern comfort. *Focus on the objective.* He was slowing. She could see the hitch in his stride now, the hand he pressed to his side. He turned again, into a street so dark the rain seemed to absorb the light. He stumbled, catching himself against a brick wall plastered with faded posters. Dead end. A high, soot-stained wall loomed before him. Quinn slowed, her hand instinctively going to the holstered SIG Sauer beneath her arm. Not yet. Words first. “Daniel Rourke,” she called out, her voice steady and loud over the downpour. “It’s Detective Quinn. We need to talk about the fire.” The hooded figure turned. The young face she’d glimpsed was chalk-white, his eyes wide and rimmed with red. “You don’t get it. I can’t talk. They’re everywhere.” “Then let me help you.” She took a step closer, her eyes scanning the surroundings out of habit. The alley was a canyon of shadows. No doors, no escape. Except… Her gaze caught on something odd set into the brickwork to Rourke’s left. A section of the wall looked newer, the bricks cleaner, the mortar a slightly different shade. There was no handle, no keyhole, just a faint, hairline crack outlining a rectangle. It looked like a bricked-up doorway. Rourke saw her looking. His fear seemed to deepen into something like despair. “No,” he whispered. “Not there. Anything but there.” “You have another option, Daniel? A place to go where they won’t find you in ten minutes?” He swallowed hard, his throat working. “It’s… it’s worse than them.” “Worse than the people who set that fire and left two people to burn?” He flinched. A muscle jumped in his cheek. His hand trembled as he reached not for the fake door, but to a small pocket inside his hoodie. He pulled out something, his fingers fumbling. It was a small, flat disc, yellowish-white in the gloom. A bone token. He pressed it into a slight depression on the wall, almost invisible amongst the bricks. There was no sound, but Quinn felt a vibration through the soles of her boots, a low thrum that seemed to resonate in her teeth. The section of wall swung inward on a hidden hinge, revealing not brick and mortar, but a descending staircase, steep and narrow, carved from raw, damp stone. A breath of air rushed out, thick with the smells of earth, ozone, and something cloying and sweet, like burnt sugar and copper. Rourke looked at her, his expression pleading. “If you follow me… you break everything. There are rules. Laws you don’t know.” “I’ve got laws of my own, son. And they say you’re a material witness in a double homicide.” She gestured with her chin towards the gaping maw. “After you.” He hesitated for a heartbeat, then vanished down the steps, his footsteps echoing on the stone. Quinn stood at the threshold, rain dripping from the end of her nose. The scent rolled over her, unnatural. This was it. The edge of the map. Beyond here lay everything Morris’s silent file hinted at, everything the cryptic notes in his casebook screamed about but never named. *You go in*, the logical part of her brain argued, *without backup, without knowing the terrain, you’re as good as dead. Or worse. You end up like Morris.* But the other voice, the cold, relentless one that had kept her alive for eighteen years and driven her to solve every case, answered back: *He’s your only path forward. And this is where they run.* She pulled her SIG, the weight familiar and solid in her hand. The metal was cold against her skin. She took one steadying breath, the damp, strange air filling her lungs. Then, Detective Harlow Quinn stepped over the threshold and descended into the dark. The bone token still sat in its recess. As she passed, the wall began to swing shut behind her, the slice of rain-soaked London streetlight narrowing to a sliver, then to nothing. The darkness was absolute, but for a faint, diffuse glow emanating from far below. Her hand found the rough stone wall. The steps were worn smooth in the centre. The air grew warmer, heavier, carrying now the discordant hum of many voices, the clink of glass, and the unmistakable, sharp tang of raw magic she’d only ever smelled in the sealed evidence locker after the fire. She reached the bottom. It wasn’t a room. It was a vaulted, cavernous space, the ceiling lost in shadows. The walls were lined with stall fronts of mismatched wood and metal, lit by floating orbs of pale, cold light. Figures moved in the gloom—some human, some decidedly not, their shapes wrong, too tall, too thin, or moving with a liquid grace that defied anatomy. The clamour was a physical force: shouting, laughter, the shriek of a creature being caged, the low, resonant chant of a vendor offering something that shimmered and shifted in a large glass jar. The Veil Market. The name from Morris’s cryptic notes. An underground, supernatural black market. It was real. Rourke was already ten yards ahead, pushing through a crowd of haggling bodies. A hulking figure with skin like cracked mud turned its head, nostrils flaring, its gaze sweeping the new arrivals. It locked onto her. Quinn’s training, her instinct, every honed reflex screamed at her to retreat. She was alone. Outgunned. Outclassed. She didn’t understand the rules of this place. But she saw Rourke glance back, his face a mask of terror, and he pointed a shaking finger at her before ducking behind a stall draped in black velvet. The creature with the mud-skin took a step towards her. It wasn't the kid anymore. It was the market itself. A dozen other predatory gazes turned her way. She stood at the entrance to a world that shouldn't exist, holding a gun that felt suddenly like a child’s toy, with a dead partner’s ghost urging her forward and every survival instinct begging her to flee. The choice crystallized in the span of a heartbeat, sharp and painful as a bullet. She could turn back, return to the familiar world of concrete and procedure, and lose Rourke forever, losing the trail of the men who killed Morris. Or she could step fully into the light of those cold, floating orbs, into a war she didn’t yet understand, and pray she didn’t drown. She tightened her grip on the SIG, the worn polymer a link to reality. Her watch ticked on her wrist, a steady, rhythmic counterpoint to the market’s unearthly buzz. Her jaw set. She took the first step forward.
created_at"2026-04-24T16:07:03.18Z" 4/24/2026, 4:07:03 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1227
moderation_latency(null)
generation_time28167
tokens_prompt4663
tokens_completion2446
native_tokens_prompt4209
native_tokens_completion2073
native_tokens_completion_images(null)
native_tokens_reasoning243
native_tokens_cached4160
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"
usage0.0044984
router(null)
provider_responses
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endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
id"8a3f4a8892b6451783d63e8fddba113d"
is_byokfalse
latency1177
model_permaslug"xiaomi/mimo-v2.5-20260422"
provider_name"Xiaomi"
status200
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total_cost0.0044984
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provider_name"Xiaomi"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
92.84% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1397
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"suddenly"
count1
highlights
0"slightly"
1"suddenly"
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)
35.58% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1397
totalAiIsms18
found
0
word"silence"
count1
1
word"familiar"
count3
2
word"loomed"
count1
3
word"scanning"
count1
4
word"trembled"
count1
5
word"gloom"
count2
6
word"maw"
count1
7
word"footsteps"
count1
8
word"echoing"
count1
9
word"weight"
count1
10
word"shimmered"
count1
11
word"hulking"
count1
12
word"velvet"
count1
13
word"crystallized"
count1
14
word"rhythmic"
count1
highlights
0"silence"
1"familiar"
2"loomed"
3"scanning"
4"trembled"
5"gloom"
6"maw"
7"footsteps"
8"echoing"
9"weight"
10"shimmered"
11"hulking"
12"velvet"
13"crystallized"
14"rhythmic"
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
narrationSentences118
matches(empty)
70.22% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount4
narrationSentences118
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences126
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans7
markdownWords64
totalWords1395
ratio0.046
matches
0"Morris’s ghost whispered in the back of her mind. This is how it started last time. The fear. The run."
1"The Raven’s Nest"
2"Age is not a factor"
3"Focus on the objective."
4"You go in"
5"without backup, without knowing the terrain, you’re as good as dead. Or worse. You end up like Morris."
6"He’s your only path forward. And this is where they run."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1293
uniqueNames11
maxNameDensity0.54
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Rourke"
discoveredNames
Soho1
Harlow2
Quinn7
Raven1
Sauer1
Rourke6
Morris5
Detective2
London1
Veil1
Market1
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Rourke"
4"Morris"
places
0"Soho"
1"London"
2"Market"
globalScore1
windowScore1
58.54% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount3
matches
0"looked like a bricked-up doorway"
1"something like despair"
2"thrum that seemed to resonate in her teeth"
56.63% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.434
wordCount1395
matches
0"not for the fake door, but to a small pocket inside his hoodie"
1"not brick and mortar, but a descending staircase, steep"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences126
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean41.03
std21.53
cv0.525
sampleLengths
081
120
252
367
456
524
655
741
827
930
1049
1121
1217
1311
1414
1547
1690
1721
1829
1964
2028
2136
2231
2359
2452
2597
2617
2736
2825
2929
3065
3141
3225
3338
99.32% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences118
matches
0"were lined"
1"being caged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs209
matches
0"was slowing"
97.51% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences126
ratio0.016
matches
0"The second time, she’d seen his face—young, terrified."
1"Figures moved in the gloom—some human, some decidedly not, their shapes wrong, too tall, too thin, or moving with a liquid grace that defied anatomy."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1305
adjectiveStacks2
stackExamples
0"high, soot-stained wall"
1"underground, supernatural black market."
adverbCount34
adverbRatio0.026053639846743294
lyAdverbCount10
lyAdverbRatio0.007662835249042145
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences126
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences126
mean11.07
std8.16
cv0.737
sampleLengths
019
122
228
34
48
59
67
72
82
911
102
1120
1219
1314
148
1511
167
1713
1814
196
2010
2111
222
236
2411
255
265
273
2817
294
303
3116
3215
3312
342
357
3614
372
382
3913
4010
414
4214
439
4418
457
464
471
4813
4916
46.30% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3253968253968254
totalSentences126
uniqueOpeners41
31.75% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences105
matches
0"Then, Detective Harlow Quinn stepped"
ratio0.01
48.57% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences105
matches
0"He’d glanced back twice."
1"She shoved the thought down,"
2"She still hadn’t understood what"
3"He veered left, down a"
4"He slipped through the gap"
5"She cursed, bracing her hands"
6"She’d been watching it for"
7"He rounded the next corner."
8"Her lungs burned."
9"He was slowing."
10"She could see the hitch"
11"He turned again, into a"
12"He stumbled, catching himself against"
13"she called out, her voice"
14"She took a step closer,"
15"Her gaze caught on something"
16"It looked like a bricked-up"
17"His fear seemed to deepen"
18"He swallowed hard, his throat"
19"His hand trembled as he"
ratio0.429
26.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences105
matches
0"Detective Harlow Quinn’s worn leather"
1"The figure in the dark"
2"He’d glanced back twice."
3"The second time, she’d seen"
4"*Morris’s ghost whispered in the"
5"This is how it started"
6"She shoved the thought down,"
7"She still hadn’t understood what"
8"He veered left, down a"
9"Quinn followed, her boots splashing"
10"The alley ended at a"
11"He slipped through the gap"
12"She cursed, bracing her hands"
13"The street here was quieter,"
14"The buildings leaned together overhead,"
15"A green neon sign buzzed"
16"She’d been watching it for"
17"A known haunt for low-level"
18"The kid didn’t go in."
19"He rounded the next corner."
ratio0.867
95.24% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences105
matches
0"Now, this kid, this witness"
1"By the time she wrenched"
ratio0.019
89.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount4
matches
0"Figures moved in the gloom—some human, some decidedly not, their shapes wrong, too tall, too thin, or moving with a liquid grace that defied anatomy."
1"The clamour was a physical force: shouting, laughter, the shriek of a creature being caged, the low, resonant chant of a vendor offering something that shimmere…"
2"A hulking figure with skin like cracked mud turned its head, nostrils flaring, its gaze sweeping the new arrivals."
3"She stood at the entrance to a world that shouldn't exist, holding a gun that felt suddenly like a child’s toy, with a dead partner’s ghost urging her forward a…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount2
matches
0"she called out, her voice steady and loud over the downpour"
1"She took, her eyes scanning the surroundings out of habit"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"she called out (call out)"
1"he whispered (whisper)"
dialogueSentences12
tagDensity0.167
leniency0.333
rawRatio1
effectiveRatio0.333
77.9030%