Run: 2026-05-10-01KR8WW0ZF3ZX9A99YY73Z8WCS

Run Details

Duration:
2m 44s
Cost:
$0.000782
Provider:
DekaLLM

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
Lungs burned, a sharp, rhythmic ache that timed itself to the heavy slap of boots against wet pavement. The figure in the charcoal coat ducked behind a dumpster, weaving through the narrow mouth of an alley. "Police! Halt!" The suspect didn't halt. They sprinted. Quinn pushed harder, her boots skidding on the slick, uneven cobblestones. Her salt-and-pepper hair, cropped close to her scalp, felt damp against her forehead. She reached for her radio, but the device remained heavy and useless in its holster, muffled by the roar of the city. Ahead, the suspect vaulted over a stack of wooden crates, disappearing around a corner. The green neon sign of The Raven's Nest flickered overhead, casting a sickly, emerald glow across the puddles. Quinn glanced at the bar's entrance, the heavy door muffled by the distant sound of a bassline, before she pivoted back toward the chase. The suspect was moving with a frantic, desperate energy, heading north toward Camden. A sudden, sharp turn forced Quinn into a side street. The buildings here felt closer, the brickwork leaning inward like spectators at a race. The suspect didn't slow down. Instead, they veered toward a rusted, iron-wrought gate that led into the mouth of an abandoned Tube station. "Stop right there!" The suspect plunged down the stairs. Quinn didn't hesitate. She descended the concrete steps, her breath coming in ragged, shallow bursts. The temperature dropped sharply as she moved below street level. The smell of the city, that familiar cocktail of exhaust, damp earth, and old rubbish, evaporated, replaced by something thicker and far more unsettling. The air in the stairwell tasted of copper and dried lavender, heavy enough to coat the tongue. It felt stagnant, as if the oxygen itself had been trapped here for decades. As she reached the bottom landing, the light from the street above vanished, swallowed by a darkness that felt intentional. She reached for her torch, the beam cutting a narrow path through the gloom. The station entrance was a skeletal ruin of cracked tiles and rusted signage. But as she moved deeper, the architecture began to shift. The standard, utilitarian lines of the London Underground gave way to something chaotic and organic. The darkness didn't just end, it transformed. The station platform had become a sprawling, subterranean bazaar. Dim, amber lanterns hung from crooked, rusted rails, casting long, flickering shadows against the soot-stained walls. The silence of the tunnel was gone, replaced by a low, rhythmic hum, a cacophony of hushed whispers and the clinking of metal on glass. Quinn slowed her pace, her hand resting instinctively on the grip of her service weapon. This wasn't a crime scene, not a standard one. This was something else. Stalls lined the tracks, draped in heavy, velvet cloths of deep crimson and midnight blue. They sold things that made her skin prickle. She saw jars filled with swirling, iridescent liquids, bundles of dried herbs that seemed to pulse with a faint, internal light, and necklaces fashioned from teeth that were far too large to belong to a human. A woman approached a makeshift gate near the edge of the platform. She looked unremarkable, dressed in a drab, grey raincoat, but she held a small, ivory-white object between her fingers. A bone. The guard at the gate, a man with eyes that caught the lantern light like a cat's, leaned forward. He took the bone, his movements precise and practiced. He nodded, and the woman slipped through the threshold into a cluster of brightly lit stalls. Quinn pressed herself against a damp pillar, her heart hammering against her ribs. The suspect had vanished into the crowd of shoppers, a sea of hooded figures and strangely elongated shadows. She watched a man in a leather apron move between the stalls, his hands stained a deep, permanent indigo. He moved with a quiet, practiced grace, setting down a tray of small, silver bells that chimed with a sound like breaking glass. The instinct to turn back, to call for backup and wait for the proper channels, screamed in the back of her mind. This place defied every protocol in the Metropolitan Police handbook. There were no sirens here, no flashing blue lights, no clear jurisdiction. But the suspect had something. She could see the way they clutched their coat, the frantic, glancing looks they threw over their shoulder. They weren't just running from her. They were running toward something. She stepped out from behind the pillar, her boots making a soft, muffled sound on the grit. The market felt alive, an entity that watched her through a thousand hidden eyes. The air grew warmer, more stifling, smelling of old paper and something sharp, like ozone before a thunderstorm. She spotted the charcoal coat again. The suspect was moving toward the rear of the platform, where the shadows gathered in thick, impenetrable clumps near the tunnel entrance. Quinn followed, keeping her distance, her eyes scanning the periphery. She passed a stall selling old, leather-bound books, their spines cracked and peeling. Beside it, a merchant sat perfectly still, a mask of polished wood covering their face. "You're a long way from the precinct, Detective." The voice was low, sandpaper-dry, and came from directly behind her. Quinn spun, her hand flying to her holster. A man stood there, leaning against a stack of crates. He had olive skin and short, curly dark hair, his eyes a warm, steady brown that contrasted with the frantic energy of the market. A Saint Christopher medallion hung from a cord around his neck, catching the amber light. A long, jagged scar ran along his left forearm, visible where his sleeve was rolled up. "I'm making an arrest," Quinn said, her voice steady despite the adrenaline coursing through her. "Not here, you aren't." The man stepped into her personal space, his expression unreadable. "This isn't your world. You step too far, and the Veil won't let you back out." "Move," Quinn commanded. "I'm Tomás," he said, ignoring her. "And if you follow that man into the Black Alcove, you won't be coming home for dinner." Quinn didn't answer. She pushed past him, her focus locked on the charcoal coat disappearing into the gloom. She reached the edge of the alcove, where the lanterns ended and the true darkness began. The suspect stopped. They turned, the movement sudden and jagged. In the dim light, the suspect reached into their pocket and pulled out a small, translucent vial. The liquid inside glowed with a violent, pulsing violet light. "Drop it!" Quinn shouted, drawing her weapon. The metal felt cold and grounding in her hand. The suspect didn't drop it. They grinned, a wide, manic expression that didn't reach their eyes. "You shouldn't have followed," the suspect whispered. They uncapped the vial. A hiss of violet smoke erupted from the glass, coiling upward like a living thing. The smoke didn't dissipate; it thickened, expanding into a swirling, predatory mass that began to obscure the entire platform. From the shadows of the alcove, something heavy and multi-limbed lunged forward, the sound of its movement a wet, sliding scrape against the stone. Quinn raised her gun, her finger tightening on the trigger. "Get down!" Tomás yelled. The violet smoke hit the lantern light, and the world exploded into a scream of light and shadow.
created_at"2026-05-10T12:12:54.657Z" 5/10/2026, 12:12:54 PM
model"google/gemma-4-26b-a4b-it-20260403"
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tokens_completion4236
native_tokens_prompt4194
native_tokens_completion1606
native_tokens_completion_images(null)
native_tokens_reasoning2133
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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is_byokfalse
finish_reason"stop"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
91.81% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1221
totalAiIsmAdverbs2
found
0
adverb"sharply"
count1
1
adverb"perfectly"
count1
highlights
0"sharply"
1"perfectly"
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)
34.48% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1221
totalAiIsms16
found
0
word"rhythmic"
count2
1
word"flickered"
count1
2
word"race"
count1
3
word"familiar"
count1
4
word"gloom"
count2
5
word"standard"
count2
6
word"chaotic"
count1
7
word"silence"
count1
8
word"cacophony"
count1
9
word"velvet"
count1
10
word"pulse"
count1
11
word"scanning"
count1
12
word"unreadable"
count1
highlights
0"rhythmic"
1"flickered"
2"race"
3"familiar"
4"gloom"
5"standard"
6"chaotic"
7"silence"
8"cacophony"
9"velvet"
10"pulse"
11"scanning"
12"unreadable"
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
narrationSentences91
matches(empty)
95.76% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences91
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences96
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1221
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1156
uniqueNames11
maxNameDensity1.12
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Raven1
Nest1
Camden1
Quinn13
Tube1
London1
Underground1
Metropolitan1
Police1
Saint1
Christopher1
persons
0"Raven"
1"Nest"
2"Quinn"
3"Underground"
4"Saint"
5"Christopher"
places
0"Camden"
1"London"
2"Metropolitan"
globalScore0.938
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences74
glossingSentenceCount1
matches
0"herbs that seemed to pulse with a faint, internal light, and necklaces fashioned from teeth that were far too large to belong to a human"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1221
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences96
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs45
mean27.13
std18.01
cv0.664
sampleLengths
036
12
26
360
455
547
63
76
849
951
1052
117
1250
1328
1459
1533
1644
1731
1842
1944
2034
2117
2232
2328
2438
258
2611
278
2865
2915
3030
313
3223
3318
3426
3527
3616
3716
387
394
4034
4124
4210
434
4418
93.70% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences91
matches
0"been trapped"
1"was gone"
2"was rolled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs191
matches
0"weren't just running"
1"were running"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences96
ratio0.01
matches
0"The smoke didn't dissipate; it thickened, expanding into a swirling, predatory mass that began to obscure the entire platform."
82.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1163
adjectiveStacks3
stackExamples
0"small, ivory-white object"
1"old, leather-bound books,"
2"short, curly dark hair,"
adverbCount20
adverbRatio0.017196904557179708
lyAdverbCount8
lyAdverbRatio0.006878761822871883
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences96
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences96
mean12.72
std6.49
cv0.51
sampleLengths
018
118
22
34
42
511
613
722
814
918
1024
1113
1210
1314
145
1518
163
176
183
1912
2010
2124
2217
2314
2420
2514
2613
2710
2815
297
309
3116
3225
3315
349
354
3615
378
3836
3912
4019
412
4219
439
4416
4513
4618
4719
4823
4922
37.85% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.3020833333333333
totalSentences96
uniqueOpeners29
38.31% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences87
matches
0"Instead, they veered toward a"
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences87
matches
0"Her salt-and-pepper hair, cropped close"
1"She reached for her radio,"
2"She descended the concrete steps,"
3"It felt stagnant, as if"
4"She reached for her torch,"
5"They sold things that made"
6"She saw jars filled with"
7"She looked unremarkable, dressed in"
8"He took the bone, his"
9"He nodded, and the woman"
10"She watched a man in"
11"He moved with a quiet,"
12"She could see the way"
13"They weren't just running from"
14"They were running toward something."
15"She stepped out from behind"
16"She spotted the charcoal coat"
17"She passed a stall selling"
18"He had olive skin and"
19"he said, ignoring her"
ratio0.287
17.47% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount77
totalSentences87
matches
0"Lungs burned, a sharp, rhythmic"
1"The figure in the charcoal"
2"The suspect didn't halt."
3"Quinn pushed harder, her boots"
4"Her salt-and-pepper hair, cropped close"
5"She reached for her radio,"
6"The green neon sign of"
7"Quinn glanced at the bar's"
8"The suspect was moving with"
9"A sudden, sharp turn forced"
10"The buildings here felt closer,"
11"The suspect didn't slow down."
12"The suspect plunged down the"
13"Quinn didn't hesitate."
14"She descended the concrete steps,"
15"The temperature dropped sharply as"
16"The smell of the city,"
17"The air in the stairwell"
18"It felt stagnant, as if"
19"She reached for her torch,"
ratio0.885
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences87
matches(empty)
ratio0
60.89% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount7
matches
0"Lungs burned, a sharp, rhythmic ache that timed itself to the heavy slap of boots against wet pavement."
1"Instead, they veered toward a rusted, iron-wrought gate that led into the mouth of an abandoned Tube station."
2"As she reached the bottom landing, the light from the street above vanished, swallowed by a darkness that felt intentional."
3"She saw jars filled with swirling, iridescent liquids, bundles of dried herbs that seemed to pulse with a faint, internal light, and necklaces fashioned from te…"
4"He moved with a quiet, practiced grace, setting down a tray of small, silver bells that chimed with a sound like breaking glass."
5"Quinn followed, keeping her distance, her eyes scanning the periphery."
6"The smoke didn't dissipate; it thickened, expanding into a swirling, predatory mass that began to obscure the entire platform."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount2
matches
0"Quinn said, her voice steady despite the adrenaline coursing through her"
1"The man stepped, his expression unreadable"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"Quinn shouted (shout)"
1"Tomás yelled (yell)"
dialogueSentences12
tagDensity0.333
leniency0.667
rawRatio0.5
effectiveRatio0.333
77.8534%