Run: 2026-04-24-01KQ041EZ6XBFS4HVNAENHAM2Z

Run Details

Duration:
30.3s
Cost:
$0.004996
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 lashed the grimy windows of the minicab as it pulled away. Quinn didn't look back. She watched the suspect’s silhouette dart under the green neon glow of a sign reading *The Raven’s Nest*, then vanish through its door. Her knuckles were white on the strap of her satchel. Twelve hours of legwork, three dead-end interviews, and a cryptic note from an informant all pointed to the man who’d just slipped inside. She pushed from the wall, ignoring the protest in her left knee, and crossed the street. The pub’s door was heavy, oak darkened by decades of spilled ale and neglect. Inside, the air was thick with the smell of old wood, stale beer, and something else, something metallic and faintly electric, like the air after a lightning strike. The place was a tomb of shadows and muted conversations. A few patrons hunched over pints at the bar, their faces illuminated by the glow of their phones. No sign of him. “Help you?” The bartender, a man with a neck like a tree stump, didn’t look up from the glass he was polishing. “Man came in just ahead of me. Dark jacket, hood up. Seen him?” The bartender’s eyes flicked to her, then to the worn leather watch on her wrist. “This isn’t a police state, love.” Quinn slapped a ten-pound note on the bar. “For your time.” He pocketed the note with a grunt. “Back room. Bookshelf on the left. Knocked three times, then twice. Silas let him in.” Back room. Secret entrance. Of course. She didn’t thank him. She moved through the pub, her bearing straight, her steps silent on the sticky floor. The bookshelf was old, filled with volumes on maritime history and forgotten London. She found the worn spine of *London’s Lost Rivers* and tapped. Three short, two long. A pause. Then the faintest click. The shelf swung inward, revealing a narrow, descending stone staircase. Cold air wafted up, carrying the scent of damp earth, ozone, and something sickly-sweet, like overripe fruit. Quinn drew her sidearm, the weight familiar and comforting in her hand. She descended. The stairs emptied into a tiled tunnel, clearly a forgotten artery of the Underground. Emergency lights, jury-rigged and humming, cast a sickly yellow glow. The tunnel stretched into darkness, but ahead, she could see movement, shapes flickering in the half-light. A low, chaotic hum of voices and strange, chiming sounds reached her. She followed the tunnel, her shoes silent on the grimy tiles. The sounds grew louder, resolving into a cacophony. She emerged from the tunnel mouth onto a raised metal walkway, and her breath caught. It wasn’t a market. It was a cavity carved into the city’s underbelly, a vast, vaulted chamber that must have been a forgotten station concourse. The high ceiling was lost in shadow, but the floor was a sprawling bazaar of horrors and wonders. Stalls made of corrugated iron, draped in velvet, and lit by flickering fairy lights or the unnatural glow of bottled substances, were crammed together in a labyrinthine maze. Figures milled between them – some human, others… less so. A woman with skin the colour of a moonstone haggled with a vendor over a jar of writhing shadows. A being that was mostly coat and top hat examined a dagger that seemed to drink the light. The air was a thick soup of smells: incense, brimstone, raw meat, and that cloying sweetness, now overpowering. Her suspect was twenty yards ahead, pushing through the throng toward a stall festooned with shimmering, ethereal fabrics. He was here. He was part of this. Quinn gripped her weapon tighter. This was beyond her jurisdiction. Beyond her training. Three years ago, her partner, Morris, had stumbled into something like this. He’d come out… wrong. A week later, he’d stepped in front of a Tube train. The official report said depression. Quinn knew better. The darkness had followed him home. She pushed off the railing, starting down the metal steps. A figure materialised at the bottom, blocking her path. It was humanoid, but its proportions were subtly wrong, its limbs too long. It wore a uniform that might have been station staff, decades ago. “Ticket, please,” it said, its voice a dry rustle. Quinn held up her warrant card. “Metropolitan Police. Step aside.” The thing tilted its head. “No ticket, no entry. Rules are rules.” Its long fingers twitched. “Or a token. A bone token.” A bone token. Of course. She looked past it, saw her quarry blending into a crowd gathered around a stall where a man was pouring glowing liquid into a customer’s open mouth. He was getting away. “I don’t have a token,” Quinn said, her voice low and even. “And I don’t have time for games. That man is a suspect in a violent crime. Move. Now.” “The Veil Market is neutral ground,” the guardian intoned, unmoved. “No violence. No arrests. No law but the Market’s. You are not of the Veil. You carry the stink of the solid world. The iron of your weapon sings a song of prohibition. It cannot pass.” She could feel the clock ticking. Every second, the suspect put more distance between them, disappearing deeper into this impossible place. She could go back, call for backup. But by the time they navigated the entry, the suspect would be gone. This place shifted, moved. The intel said so. Her eyes scanned the guardian’s uniform. In the lapel, something glinted. A small, tarnished silver pin in the shape of a raven’s skull. A souvenir? A mark of office? She let her hand fall from her gun, adopting a non-threatening posture. “Neutral ground,” she repeated, letting the words hang. She took a slow step down, then another. The guardian didn’t move. Its milky eyes were fixed on her. “So disputes are handled internally?” “By the Market Keeper. Silas.” “And if a person leaves the Market, having committed a crime within? The neutrality ends, doesn’t it?” She was two steps from it now. Close enough to see the fine, grey veins pulsing beneath its translucent skin. “I’m not here to arrest him in your… bazaar. I’m here to identify his path. Where he goes when he leaves. That’s all.” The thing considered this, its head tilting the other way. The silence stretched, filled only by the distant, alien chatter of the market. Quinn could feel sweat trickling down her spine, cold against her skin. Finally, it gave a slow, creaking nod. “Observation. No interference. No weapon drawn.” “Agreed.” It stepped aside. The way was clear. Quinn walked past, her shoulder almost brushing the creature’s coat. The texture was like dry, brittle leaves. She reached the bottom of the steps and stepped onto the packed earth of the market floor. The noise, the light, the sheer density of the wrongness washed over her. It was like stepping into a fever dream. She forced herself to focus. Twenty yards had become fifty. The suspect was haggling with the fabric vendor now, his back to her. She began to move, weaving through the stalls. She kept her eyes forward, her posture relaxed, a deliberate mimicry of the other patrons. She passed a stall selling bottled screams, their silent faces contorting inside the glass. Another offered maps drawn on skin, the routes shifting as she watched. A hand caught her elbow. She flinched, turning. A small, wizened woman with eyes like polished obsidian peered up at her. “You’re cold, detective.” Quinn’s blood ran still. “I’m not—” “Your partner’s ghost is a loud one. Follows you. Poor Morris.” The woman’s grip was surprisingly strong. “He bargained for knowledge. Got what he paid for. You’re here for more than a thief, aren’t you? You’re looking for the seam.” Quinn stared at her, her carefully constructed composure cracking. “What seam?” The woman’s smile revealed teeth of sharpened black stone. “The place where his world bled into yours. Where Morris got his scratch. The thief wasn’t stealing trinkets tonight. He was planting a marker. For a door.” A door. The word resonated with a dreadful certainty. The cryptic note from her informant: *He’s opening one. Camden. Tonight.* She glanced past the woman. The fabric stall was empty. The suspect was gone, vanished into the maze of shadows and stalls. “Where?” Quinn demanded, turning back. But the old woman was gone. Only the scent of ozone and black soil remained. Quinn stood alone in the throng of nightmares. The suspect was lost. She was in a place that shouldn’t exist, armed with a weapon that was apparently useless, and chasing a man who was trying to pry open a hole in reality. Her partner’s face swam in her memory, his eyes wide with a terror that had nothing to do with their mundane case. She took a deep, steadying breath. The air tasted of finality. She was in. There was no going back to the world of warrants and procedure. Not until she found what was coming through that door. She adjusted the strap of her satchel, her hand brushing the cool metal of her holster. Forbidden, perhaps. But she wasn’t leaving it behind. She picked a direction and moved, her shadow swallowed by the electric gloom of the Veil Market. The chase wasn’t over. It had just begun in earnest.
created_at"2026-04-24T16:09:21.144Z" 4/24/2026, 4:09:21 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
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cancelledfalse
latency1349
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generation_time30182
tokens_prompt4663
tokens_completion2742
native_tokens_prompt4209
native_tokens_completion2322
native_tokens_completion_images(null)
native_tokens_reasoning254
native_tokens_cached4160
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
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provider_responses
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latency1260
model_permaslug"xiaomi/mimo-v2.5-20260422"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences27
tagDensity0.259
leniency0.519
rawRatio0
effectiveRatio0
96.77% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1549
totalAiIsmAdverbs1
found
0
adverb"carefully"
count1
highlights
0"carefully"
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)
38.67% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1549
totalAiIsms19
found
0
word"electric"
count2
1
word"flicked"
count1
2
word"weight"
count1
3
word"familiar"
count1
4
word"comforting"
count1
5
word"chaotic"
count1
6
word"resolving"
count1
7
word"cacophony"
count1
8
word"velvet"
count1
9
word"could feel"
count2
10
word"navigated"
count1
11
word"scanned"
count1
12
word"silence"
count1
13
word"down her spine"
count1
14
word"constructed"
count1
15
word"resonated"
count1
16
word"gloom"
count1
highlights
0"electric"
1"flicked"
2"weight"
3"familiar"
4"comforting"
5"chaotic"
6"resolving"
7"cacophony"
8"velvet"
9"could feel"
10"navigated"
11"scanned"
12"silence"
13"down her spine"
14"constructed"
15"resonated"
16"gloom"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"air was thick with"
count1
highlights
0"the air was thick with"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences141
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences141
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)
analyzedSentences159
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords11
totalWords1550
ratio0.007
matches
0"The Raven’s Nest"
1"London’s Lost Rivers"
2"He’s opening one. Camden. Tonight."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
99.96% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1299
uniqueNames10
maxNameDensity1
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Raven1
London2
Lost1
Underground1
Morris1
Tube1
Quinn13
Close1
Veil1
Market1
persons
0"Raven"
1"Morris"
2"Quinn"
places
0"London"
1"Lost"
globalScore1
windowScore1
66.67% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences90
glossingSentenceCount3
matches
0"dagger that seemed to drink the light"
1"something like this"
2"eapon that was apparently useless, and chasin"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.645
wordCount1550
matches
0"No law but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences159
matches
0"through that door"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean35.23
std25.91
cv0.736
sampleLengths
072
190
222
313
421
511
622
759
841
952
1034
11136
1226
1354
1444
159
1610
1722
1836
1930
2046
2149
2241
2332
245
2560
2635
2713
281
297
3055
3172
3224
336
3440
3511
3636
3720
3822
395
4015
4164
4236
4351
92.82% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences141
matches
0"was lost"
1"were crammed"
2"were fixed"
3"was gone"
4"was gone"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs231
matches
0"was polishing"
1"was pouring"
2"was like stepping"
3"was haggling"
4"was trying"
5"was coming"
6"wasn’t leaving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences159
ratio0.006
matches
0"Figures milled between them – some human, others…"
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1304
adjectiveStacks1
stackExamples
0"small, tarnished silver pin"
adverbCount34
adverbRatio0.02607361963190184
lyAdverbCount13
lyAdverbRatio0.009969325153374233
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences159
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences159
mean9.75
std6.86
cv0.703
sampleLengths
012
14
223
310
423
516
614
728
810
918
104
1122
1213
1315
146
158
163
177
1815
192
202
212
224
2315
2413
2511
264
272
284
2910
3017
3112
322
3314
3410
3516
3612
3711
388
3915
404
4121
4218
4328
448
452
4619
4718
4818
4918
48.85% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.34591194968553457
totalSentences159
uniqueOpeners55
78.13% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences128
matches
0"Then the faintest click."
1"Finally, it gave a slow,"
2"Only the scent of ozone"
ratio0.023
76.25% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount46
totalSentences128
matches
0"She watched the suspect’s silhouette"
1"Her knuckles were white on"
2"She pushed from the wall,"
3"He pocketed the note with"
4"She didn’t thank him."
5"She moved through the pub,"
6"She found the worn spine"
7"She followed the tunnel, her"
8"She emerged from the tunnel"
9"It wasn’t a market."
10"It was a cavity carved"
11"Her suspect was twenty yards"
12"He was here."
13"He was part of this."
14"He’d come out…"
15"She pushed off the railing,"
16"It was humanoid, but its"
17"It wore a uniform that"
18"it said, its voice a"
19"Its long fingers twitched"
ratio0.359
34.22% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences128
matches
0"Rain lashed the grimy windows"
1"Quinn didn't look back."
2"She watched the suspect’s silhouette"
3"Her knuckles were white on"
4"She pushed from the wall,"
5"The pub’s door was heavy,"
6"The place was a tomb"
7"The bartender, a man with"
8"The bartender’s eyes flicked to"
9"Quinn slapped a ten-pound note"
10"He pocketed the note with"
11"She didn’t thank him."
12"She moved through the pub,"
13"The bookshelf was old, filled"
14"She found the worn spine"
15"The shelf swung inward, revealing"
16"Quinn drew her sidearm, the"
17"The stairs emptied into a"
18"Emergency lights, jury-rigged and humming,"
19"The tunnel stretched into darkness,"
ratio0.852
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences128
matches(empty)
ratio0
81.28% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount5
matches
0"Twelve hours of legwork, three dead-end interviews, and a cryptic note from an informant all pointed to the man who’d just slipped inside."
1"It was a cavity carved into the city’s underbelly, a vast, vaulted chamber that must have been a forgotten station concourse."
2"She looked past it, saw her quarry blending into a crowd gathered around a stall where a man was pouring glowing liquid into a customer’s open mouth."
3"She was in a place that shouldn’t exist, armed with a weapon that was apparently useless, and chasing a man who was trying to pry open a hole in reality."
4"Her partner’s face swam in her memory, his eyes wide with a terror that had nothing to do with their mundane case."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount2
matches
0"it said, its voice a dry rustle"
1"Quinn said, her voice low and even"
75.93% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"she repeated (repeat)"
1"Quinn demanded (demand)"
dialogueSentences27
tagDensity0.148
leniency0.296
rawRatio0.5
effectiveRatio0.148
79.4513%