Run: 2026-05-10-01KR8W5KYRA3N9HHWRQ48FXHCE

Run Details

Duration:
35.3s
Cost:
$0.001013
Provider:
DeepInfra

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
"Stop! Metropolitan Police!" The shout died in the roar of the rain. The figure ahead surged forward, a dark shape weaving through the narrow, slick corridors of Soho. Harlow Quinn lunged, her boots skidding on the greasy cobblestones. Her lungs burned, a sharp, rhythmic ache that matched the frantic thud of her heart. She pushed harder, her vision narrowing to the swaying, hunched shoulders of the man ahead. He wasn't just running; he was navigating, cutting corners with a predatory familiarity that made the hair on her arms stand up. A heavy black trench coat flashed under a streetlamp. He dodged a stack of discarded crates, his movement too fluid, too practiced for a common thief. "Don't make this harder!" No response. Only the rhythmic splash of heavy footsteps and the distant, muffled thrum of a bassline leaking from a nearby basement. She rounded the corner near a narrow alleyway, her hand instinctively hovering near her belt. The rain lashed against her face, stinging her eyes, blurring the world into a smear of grey and neon. A green neon sign flickered overhead, casting a sickly, rhythmic glow across the wet pavement. *The Raven's Nest*. The light died, then surged, illuminating a man ducking behind a row of bins. He didn't head for the main road. He headed for a service entrance, a rusted metal door tucked behind a stack of crates. "Police! Get your hands up!" The man didn't slow. He slammed his shoulder into the door. It gave way with a heavy, metallic groan. Harlow reached the door a second too late. It swung shut, the latch clicking with finality. She grabbed the handle, wrenching it, but it remained unyielding. A heavy bolt had been thrown from the other side. She stood in the rain, chest heaving, listening. The sound of footsteps didn't fade into the street. They descended. Deep, echoing, and rhythmic. She looked around the mouth of the alley. A discarded newspaper tumbled past her feet, soaked and heavy. The street was empty, the usual Soho bustle replaced by the lonely, rhythmic dripping of rainwater from a rusted gutter. She forced herself to breathe. Military precision. Focus. She couldn't call for backup; not for a chase this erratic, not without a warrant for whatever hole he was crawling into. And she knew, with a sinking, intuitive dread, that a standard warrant wouldn't open that door. She moved toward the end of the alley, where a different entrance sat recessed into the brickwork. It wasn't a door, but a heavy, cast-iron grate leading to the subterranean depths. The air rising from the grate didn't smell of the city. It didn't smell of exhaust, or old rubbish, or the damp, metallic scent of London rain. It smelled of something else. Incense. Burnt sage. Something sharp and alkaline, like a chemist’s shop after a spill. Harlow knelt, her knees soaking up the cold slush. She peered through the bars. Below, a world unfolded that defied the street level above. It wasn't just a sewer or a maintenance tunnel. It was a cavern of light and shadow, a sprawling, subterranean labyrinth that seemed to breathe. Dim, amber lanterns hung from rusted pipes, casting long, dancing shadows against walls that looked less like concrete and more like ancient, weeping stone. It was moving. Figures drifted through the gloom. They moved with a strange, coordinated grace, weaving between stalls constructed from reclaimed wood and scrap metal. There were no sirens here. No police whistles. Just a low, melodic hum that felt less like sound and more like a vibration in the teeth. She saw him. The man in the black coat. He was moving through a crowd of people who didn't look quite right. A woman in a velvet cloak passed him, her gait too smooth, her head tilted at an angle that suggested a fractured spine. "The Veil Market." The name surfaced from a memory of a cold case file, a whispered legend among the more eccentric informants in the precinct. An underground market. A place for things that didn't belong in the light. Harlow stood, her hand tightening on her flashlight. She felt a sudden, irrational urge to turn back, to head to the station, to write a report about a lost suspect and a closed lead. But the memory of DS Morris flashed in her mind. Not his face, but the look in his eyes in those final, frantic moments. A look of profound, terrifying confusion. As if he had glimpsed a gear in the clockwork of the world that he wasn't meant to see. She wouldn't lose another one to the shadows. She found a side staircase, a narrow, winding descent of crumbling stone that bypassed the main grate. The steps were slick with a translucent film, smelling of old copper. As she descended, the temperature climbed. The damp chill of the London night was replaced by a heavy, humid warmth. The light changed from the harsh, flickering neon of the street to a soft, bruised purple and gold. She reached the bottom, her hand brushing a wall that felt strangely warm to the touch. The market was a riot of sensory overload. A merchant with skin the colour of polished mahogany beckoned her toward a stall overflowing with jars of shimmering, iridescent powders. A man in a tattered waistcoat was selling what looked like dried, silvered teeth. "Looking for something specific, darling?" A voice cut through the ambient hum. A woman stood nearby, leaning against a wooden post. She wore a heavy, dark apron and held a cloth she was using to wipe down a glass counter. "Just passing through," Harlow said, her voice sounding too loud, too abrasive in the melodic air. "Nobody just passes through the Veil." The woman’s eyes, a piercing, unnatural violet, tracked Harlow’s every movement. "You have the look of a hunter. Or a victim. It’s hard to tell the difference until the blood hits the floor." "I'm looking for a man. Black coat. Tall. Not a local." The woman smiled, revealing teeth that were a little too white, a little too straight. "Everyone here is a stranger. Try the north end. Near the old Tube entrance. But a word of advice, Detective..." Harlow froze. The word was a cold blade between her ribs. "...don't go looking for things that have already decided to stay lost." The woman turned away, returning to her polishing. Harlow didn't stay to argue. She pushed deeper into the crowd, her heart hammering a frantic rhythm against her ribs. The crowd was denser here. The smells intensified—clove, old parchment, and the metallic tang of blood. She spotted the black coat again. He was turning a corner into a narrow lane lined with stalls draped in heavy, dark silks. He was moving fast, weaving through a group of tall, spindly figures who seemed to be arguing in a language that sounded like dry leaves skittering across pavement. She followed, keeping her distance, her eyes scanning the shadows. The lane opened into a small, circular plaza. In the centre stood a fountain, but instead of water, a thick, silvery liquid bubbled softly from a stone basin shaped like a weeping eye. The suspect stopped at the edge of the plaza. He turned, looking back over his shoulder. For a second, his eyes met hers. There was no fear in them. Only a grim, desperate anticipation. He reached into his pocket and pulled something out. A small, white object. Before Harlow could react, he tossed it into the silvery fountain. A sudden, violent hiss erupted from the basin. The silvery liquid surged upward, a gout of metallic spray that caught the light of the lanterns. "Hey! Stop right there!" Harlow broke into a sprint, pushing past a startled vendor. The suspect didn't run this time. He stepped toward the fountain, his hand reaching into the bubbling liquid. "Get away from there!" The man turned fully. His face was pale, his eyes wide and reflecting the silver light. He held something aloft. A bone. A long, curved shard of bone that seemed to pulse with a faint, internal light. "You don't belong here, Detective," he said. His voice wasn't a shout, but it carried through the plaza with terrifying clarity. "Hands where I can see them. Now!" A shadow detached itself from the darkness behind the fountain. It was large, broader than any man Harlow had encountered in the street. It moved with a heavy, deliberate thud, the sound of something massive approaching. The suspect grinned. It was a jagged, broken expression. "The Market is closing." He slammed the bone shard into the stone rim of the fountain. The world didn't explode. It buckled. The ground beneath Harlow's feet groaned, a deep, tectonic sound that vibrated through her marrow. The silver liquid in the fountain erupted, not as a spray, but as a wave, a shimmering, viscous wall of moonlight that rushed toward her. She tried to pivot, to dive out of the way, but the air itself seemed to thicken, turning into something heavy and resistant, like moving through honey. The silver wave hit. It wasn't cold. It was searing. It felt like being submerged in liquid lightning. As the light swallowed her, the last thing Harlow saw was the suspect’s face, illuminated by the silver roar, and the massive shadow looming over him, reaching out with fingers that were far too long.
created_at"2026-05-10T12:00:40.434Z" 5/10/2026, 12:00:40 PM
model"google/gemma-4-26b-a4b-it-20260403"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency302
moderation_latency(null)
generation_time35158
tokens_prompt4663
tokens_completion2393
native_tokens_prompt4524
native_tokens_completion2047
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.00101266
router(null)
provider_responses
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endpoint_id"d71c6981-347d-4622-a86b-2c9e5d0f2c6c"
id"chatcmpl-RxtsfnvfVnBAuxNtxuW0ubRu"
is_byokfalse
latency51
model_permaslug"google/gemma-4-26b-a4b-it-20260403"
provider_name"DeepInfra"
status200
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request_id"req-1778414440-8XBqIG8DnyHQAb5fxwbz"
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provider_name"DeepInfra"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences16
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
96.82% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1573
totalAiIsmAdverbs1
found
0
adverb"softly"
count1
highlights
0"softly"
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)
14.18% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1573
totalAiIsms27
found
0
word"rhythmic"
count5
1
word"navigating"
count1
2
word"footsteps"
count2
3
word"flickered"
count1
4
word"echoing"
count1
5
word"standard"
count1
6
word"depths"
count1
7
word"dancing"
count1
8
word"gloom"
count1
9
word"constructed"
count1
10
word"velvet"
count1
11
word"fractured"
count1
12
word"profound"
count1
13
word"chill"
count1
14
word"warmth"
count1
15
word"scanning"
count1
16
word"anticipation"
count1
17
word"pulse"
count1
18
word"vibrated"
count1
19
word"searing"
count1
20
word"the last thing"
count1
21
word"looming"
count1
highlights
0"rhythmic"
1"navigating"
2"footsteps"
3"flickered"
4"echoing"
5"standard"
6"depths"
7"dancing"
8"gloom"
9"constructed"
10"velvet"
11"fractured"
12"profound"
13"chill"
14"warmth"
15"scanning"
16"anticipation"
17"pulse"
18"vibrated"
19"searing"
20"the last thing"
21"looming"
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
narrationSentences134
matches(empty)
89.55% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences134
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences147
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords3
totalWords1572
ratio0.002
matches
0"The Raven's Nest"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions20
wordCount1454
uniqueNames6
maxNameDensity0.89
worstName"Harlow"
maxWindowNameDensity2
worstWindowName"Harlow"
discoveredNames
Soho2
Quinn1
Raven1
London2
Morris1
Harlow13
persons
0"Quinn"
1"Raven"
2"Morris"
3"Harlow"
places
0"Soho"
1"London"
globalScore1
windowScore1
26.24% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences101
glossingSentenceCount5
matches
0"labyrinth that seemed to breathe"
1"looked like dried, silvered teeth"
2"sounded like dry leaves skittering across"
3"bone that seemed to pulse with a faint, internal light"
4"felt like being submerged in liquid lig"
72.77% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.272
wordCount1572
matches
0"Not his face, but the look in his eyes in those final, frantic moments"
1"not as a spray, but as a wave, a shimmering, viscous wall of moonlight"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences147
matches
0"open that door"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs63
mean24.95
std17.94
cv0.719
sampleLengths
03
125
262
326
44
522
666
723
85
919
1036
1123
1238
1346
1431
1546
1614
1759
183
1948
2045
213
2235
2383
248
2529
2638
2716
2843
295
3035
3116
3239
3311
3435
3511
3612
378
3836
3951
4010
4133
4234
4313
4411
4525
464
4710
4818
494
97.41% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences134
matches
0"been thrown"
1"was replaced"
2"being submerged"
1.42% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs235
matches
0"was navigating"
1"wasn't just running"
2"was crawling"
3"was selling"
4"was using"
5"was turning"
6"was searing"
84.55% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount2
flaggedSentences3
totalSentences147
ratio0.02
matches
0"He wasn't just running; he was navigating, cutting corners with a predatory familiarity that made the hair on her arms stand up."
1"She couldn't call for backup; not for a chase this erratic, not without a warrant for whatever hole he was crawling into."
2"The smells intensified—clove, old parchment, and the metallic tang of blood."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1456
adjectiveStacks0
stackExamples(empty)
adverbCount34
adverbRatio0.023351648351648352
lyAdverbCount9
lyAdverbRatio0.006181318681318681
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences147
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences147
mean10.69
std6.66
cv0.623
sampleLengths
03
19
216
310
415
515
622
79
817
94
102
1120
1215
1319
1415
153
1614
177
1816
195
204
217
228
238
248
2510
2610
278
289
292
304
318
3210
3320
345
352
361
3722
3816
3917
4014
4111
4216
435
441
452
4611
479
485
4910
38.44% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.2789115646258503
totalSentences147
uniqueOpeners41
80.65% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences124
matches
0"Only the rhythmic splash of"
1"Just a low, melodic hum"
2"Only a grim, desperate anticipation."
ratio0.024
58.71% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences124
matches
0"Her lungs burned, a sharp,"
1"She pushed harder, her vision"
2"He wasn't just running; he"
3"He dodged a stack of"
4"She rounded the corner near"
5"He didn't head for the"
6"He headed for a service"
7"He slammed his shoulder into"
8"It gave way with a"
9"It swung shut, the latch"
10"She grabbed the handle, wrenching"
11"She stood in the rain,"
12"She looked around the mouth"
13"She forced herself to breathe."
14"She couldn't call for backup;"
15"She moved toward the end"
16"It wasn't a door, but"
17"It didn't smell of exhaust,"
18"It smelled of something else."
19"She peered through the bars."
ratio0.403
32.58% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount106
totalSentences124
matches
0"The shout died in the"
1"The figure ahead surged forward,"
2"Harlow Quinn lunged, her boots"
3"Her lungs burned, a sharp,"
4"She pushed harder, her vision"
5"He wasn't just running; he"
6"A heavy black trench coat"
7"He dodged a stack of"
8"She rounded the corner near"
9"The rain lashed against her"
10"A green neon sign flickered"
11"*The Raven's Nest*."
12"The light died, then surged,"
13"He didn't head for the"
14"He headed for a service"
15"The man didn't slow."
16"He slammed his shoulder into"
17"It gave way with a"
18"Harlow reached the door a"
19"It swung shut, the latch"
ratio0.855
80.65% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences124
matches
0"As if he had glimpsed"
1"Before Harlow could react, he"
ratio0.016
34.63% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount10
matches
0"She pushed harder, her vision narrowing to the swaying, hunched shoulders of the man ahead."
1"He wasn't just running; he was navigating, cutting corners with a predatory familiarity that made the hair on her arms stand up."
2"The rain lashed against her face, stinging her eyes, blurring the world into a smear of grey and neon."
3"It was a cavern of light and shadow, a sprawling, subterranean labyrinth that seemed to breathe."
4"Dim, amber lanterns hung from rusted pipes, casting long, dancing shadows against walls that looked less like concrete and more like ancient, weeping stone."
5"She found a side staircase, a narrow, winding descent of crumbling stone that bypassed the main grate."
6"The woman smiled, revealing teeth that were a little too white, a little too straight."
7"She followed, keeping her distance, her eyes scanning the shadows."
8"The silver liquid in the fountain erupted, not as a spray, but as a wave, a shimmering, viscous wall of moonlight that rushed toward her."
9"As the light swallowed her, the last thing Harlow saw was the suspect’s face, illuminated by the silver roar, and the massive shadow looming over him, reaching …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences16
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
80.2861%