Run: 2026-05-10-01KR927H337ZGBBCYM6D17CZJT

Run Details

Duration:
9.0s
Cost:
$0.003728
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Detective Harlow Quinn stepped over a discarded pint glass, the jagged edges catching the harsh, flickering neon of the abandoned Camden Underground station. The air hung thick with the stale, metallic tang of ozone and old dust. Beneath her boots, the heavy tiles groaned, a low, ominous sound that reverberated through the hollowed-out tunnel. She didn't look at the transit maps peeling from the walls. Instead, she stared at the knot of uniformed officers gathered around a central pillar. "It’s a dead end, Harlow. Some amateur ritual gone sideways." Officer Miller didn't look up from his notepad, his voice flat and monotone. He stood near a crudely drawn circle of white salt, his polished shoes scuffing the edges of the sigils. "Rituals don't leave thermal scarring on the ceiling," Quinn replied, her gaze tracking a blackened, jagged arc etched deep into the ancient masonry high above. She checked the worn leather watch on her left wrist. It was tighter than usual, the leather biting into her skin. Miller sighed, scratching the back of his neck with a ballpoint pen. "Electrical fire. Old wiring, damp walls, short circuit. It jumps. You know that." "Wiring doesn't manifest as concentrated, inward-facing heat," she said, crouching beside a heap of discarded personal effects. She pulled a pair of thin, latex gloves from her pocket and snapped them on, the sound sharp in the quiet space. She picked up a small, weathered leather satchel—the kind favoured by university students or researchers, though the branding was worn away. She nudged it open. Inside, a collection of vellum-bound books lay haphazardly, their spines cracked by age and frequent use. Her fingers brushed against a specific volume, an occult guide she hadn't seen in the archives, and felt a faint, hum-like vibration. "Look at the salt, Miller," Quinn commanded, pointing to the break in the perfect circle. It hadn't been kicked in from the outside. The grains were pulled outwards, as if something had burst from within the containment, dragging the boundary with it. "This wasn't a fire. This was a breach." Miller finally looked up, his brow furrowed in a mixture of annoyance and genuine confusion. He walked over, his heavy footsteps echoing too loudly in the subterranean silence. "Evidence is what we have, Harlow. We have a body—well, the remains of one—and a clear indication of a struggle. The forensics team already pulled a print off the wall. It’s some student from the history department. Likely got a bit too invested in the local ghost stories." "And the Veil Compass?" Miller blinked, his expression blank. "The what?" Quinn reached into the satchel, ignoring the protest of the books, and pulled out a small, brass device. It was covered in a thick, grimy layer of verdigris, its face etched with intricate, defensive sigils. The needle spun wildly, disregarding magnetic north entirely, twitching toward the dark, forgotten mouth of the north-line tunnel. "This," she said, holding it between them. The brass surface felt ice-cold against her palm, a stark contrast to the stifling warmth of the station. She watched the needle. It wasn't just pointing; it was straining, vibrating with an unnatural kinetic energy. The sigils on the glass flickered, casting distorted, elongated shadows against the pillar. "What is that?" Miller stepped back, his hand instinctively gravitating toward his holster. "A souvenir from the Market," Quinn said, her voice dropping to a low, measured tone. She didn't look at him; she was watching the shadows. "And someone brought it to this exact spot to open a door." The station groaned again, this time a long, structural moan that shook the floorboards. Wisps of dark, oily smoke began to bleed from the cracks in the tiles, snaking their way across the ground like living things. They moved with a singular, hungry purpose, ignoring the draft of the tunnel to curl around the base of the pillar where the salt circle had been broken. "Harlow, put that thing down. Now." Miller’s voice carried a thin, sharp edge of panic. "The captain said no touching occult items until the specialists arrive." "The specialists aren't coming, Miller." She stood up, her joints popping in the silence. She gripped the brass compass tightly, feeling the bite of the metal against her thumb. "The captain isn't authorized to know about this station. You shouldn't be here either." A sharp, rhythmic clicking began to echo from the dark expanse of the tunnel—a rhythmic, claw-on-stone sound that set her teeth on edge. *Click-clack. Click-clack.* "Explain," Miller demanded, reaching for his radio. "What is that noise?" "It’s not a noise," Quinn said, her eyes locked on the darkness ahead where the needle pointed. "It’s a warning." She stepped forward, moving with the precision of a woman who had spent eighteen years cataloguing the worst of human nature, only to realise that the true monsters didn't follow the law. The shadows coalesced into a form, jagged and wrong, lacking any coherent biological structure. It was a tear in the fabric of the station, a void reflecting the hollowed-out soul of the city itself. The compass in her hand went dead still. The needle pointed directly at the centre of the void. "Get back," she ordered, her voice cutting through the rising static that filled the air. She reached into her holster, but she didn't pull her service weapon. She pulled a small, silver-bound vial she kept hidden beneath her jacket lining, the contents shifting like liquid mercury. "Harlow, tell me that isn't what I think it is," Miller sputtered, his hand frozen on his radio. He was staring at the wall, where the flickering light of the compass seemed to be dissolving the very paint from the tiles, leaving behind images that shifted and writhed when viewed from the corner of the eye. "It’s a closing agent," she snapped, not taking her eyes off the dark. "And it’s going to be a very long night." The shadow-thing lunged. It didn't move across the floor; it simply expanded, rushing forward like a sudden, freezing tide. The temperature in the station plummeted until their breath bloomed in the air like ghostly white plumes. Quinn pivoted, throwing the vial with the practiced, military grace of a veteran, watching the glass shatter against the encroaching darkness. The reaction was instantaneous. A flash of blinding, violet light erupted, followed by a sound like tearing silk. The station seemed to vibrate, the walls screaming as the breach fought to cement itself in reality. She dove behind the pillar, the air pressure hitting her like a physical blow. She looked over her shoulder, the salt circle now humming with a discordant, piercing frequency. The air felt thin, metallic, and utterly wrong. She knew this feeling. It was the same hollow, crushing weight she had felt three years ago, the day the case files went missing and her partner ceased to exist. She turned back to the breach, her jaw set, her muscles coiled for the next movement. The shadow wasn't retreating; it was gathering strength, its edges beginning to shred the very air around it. "Miller, get clear!" she shouted, but her voice was swallowed by the sudden, deafening roar of the tunnel. The ground beneath them buckled. A piece of the ceiling concrete plummeted, smashing the tiles where the salt circle had been. Dust and debris exploded outward, filling the air with a choking, grey haze. Through the swirling grit, the outline of something massive—non-human, ancient, and entirely incensed—began to force its way into the station. Quinn watched, her heart hammering against her ribs, as the brass needle on the compass snapped clean off its pivot. The dark, shifting mass surged, and the station’s flickering lights finally went out, plunging them into a suffocating, absolute darkness.
created_at"2026-05-10T13:46:34.485Z" 5/10/2026, 1:46:34 PM
model"google/gemini-3.1-flash-lite-20260507"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency644
moderation_latency(null)
generation_time8881
tokens_prompt4671
tokens_completion2029
native_tokens_prompt4537
native_tokens_completion1729
native_tokens_completion_images0
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"standard"
usage0.00372775
router(null)
provider_responses
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endpoint_id"237af107-d2e9-46c7-b146-c74d75980dee"
id"OowAatKQKsmtz7IPooy76AM"
is_byokfalse
latency644
model_permaslug"google/gemini-3.1-flash-lite-20260507"
provider_name"Google AI Studio"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.1; linux; x64))"
http_referer(null)
request_id"req-1778420794-ibfpfkZTuU5yCBqLT1wk"
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api_type"completions"
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total_cost0.00372775
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount1
adverbTags
0"Miller stepped back [back]"
dialogueSentences26
tagDensity0.538
leniency1
rawRatio0.071
effectiveRatio0.071
80.75% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1299
totalAiIsmAdverbs5
found
0
adverb"tightly"
count1
1
adverb"very"
count3
2
adverb"utterly"
count1
highlights
0"tightly"
1"very"
2"utterly"
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)
19.17% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1299
totalAiIsms21
found
0
word"reverberated"
count1
1
word"etched"
count2
2
word"perfect"
count1
3
word"furrowed"
count1
4
word"footsteps"
count1
5
word"echoing"
count1
6
word"silence"
count2
7
word"intricate"
count1
8
word"magnetic"
count1
9
word"stark"
count1
10
word"warmth"
count1
11
word"flickered"
count1
12
word"measured"
count1
13
word"rhythmic"
count2
14
word"echo"
count1
15
word"structure"
count1
16
word"silk"
count1
17
word"weight"
count1
highlights
0"reverberated"
1"etched"
2"perfect"
3"furrowed"
4"footsteps"
5"echoing"
6"silence"
7"intricate"
8"magnetic"
9"stark"
10"warmth"
11"flickered"
12"measured"
13"rhythmic"
14"echo"
15"structure"
16"silk"
17"weight"
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
narrationSentences77
matches(empty)
31.54% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences77
filterMatches
0"watch"
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)
analyzedSentences89
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords2
totalWords1292
ratio0.002
matches
0"Click-clack. Click-clack."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions19
wordCount1090
uniqueNames5
maxNameDensity0.73
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn8
Camden1
Underground1
Miller8
persons
0"Harlow"
1"Quinn"
2"Miller"
places(empty)
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences68
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1292
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences89
matches
0"realise that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean38
std20.51
cv0.54
sampleLengths
079
110
232
346
425
539
663
750
876
94
107
1153
127
1348
1413
1537
1665
1726
1843
1925
2011
2120
2266
2318
2446
2556
2622
2757
2849
2953
3034
3118
3254
3340
77.92% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences77
matches
0"was worn"
1"been kicked"
2"were pulled"
3"was covered"
4"been broken"
5"was swallowed"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs191
matches
0"was straining"
1"wasn't just pointing"
2"was watching"
3"was staring"
4"was gathering"
5"wasn't retreating"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount4
flaggedSentences7
totalSentences89
ratio0.079
matches
0"She picked up a small, weathered leather satchel—the kind favoured by university students or researchers, though the branding was worn away."
1"It wasn't just pointing; it was straining, vibrating with an unnatural kinetic energy."
2"She didn't look at him; she was watching the shadows."
3"A sharp, rhythmic clicking began to echo from the dark expanse of the tunnel—a rhythmic, claw-on-stone sound that set her teeth on edge."
4"It didn't move across the floor; it simply expanded, rushing forward like a sudden, freezing tide."
5"The shadow wasn't retreating; it was gathering strength, its edges beginning to shred the very air around it."
6"Through the swirling grit, the outline of something massive—non-human, ancient, and entirely incensed—began to force its way into the station."
82.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1105
adjectiveStacks3
stackExamples
0"ice-cold against her"
1"rhythmic, claw-on-stone"
2"small, silver-bound vial"
adverbCount30
adverbRatio0.027149321266968326
lyAdverbCount16
lyAdverbRatio0.014479638009049774
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences89
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences89
mean14.52
std7.66
cv0.527
sampleLengths
023
114
217
311
414
510
613
719
825
910
1011
1112
1213
1317
1422
1521
164
1716
1822
1915
208
2119
228
2315
2413
2548
264
275
282
2918
3017
3118
327
3318
344
3513
3613
3713
3815
3910
4012
4114
4223
4328
4415
4511
4614
4715
4814
4923
45.32% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3258426966292135
totalSentences89
uniqueOpeners29
44.44% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences75
matches
0"Instead, she stared at the"
ratio0.013
44.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences75
matches
0"She didn't look at the"
1"He stood near a crudely"
2"She checked the worn leather"
3"It was tighter than usual,"
4"she said, crouching beside a"
5"She pulled a pair of"
6"She picked up a small,"
7"She nudged it open."
8"Her fingers brushed against a"
9"It hadn't been kicked in"
10"He walked over, his heavy"
11"It was covered in a"
12"she said, holding it between"
13"She watched the needle."
14"It wasn't just pointing; it"
15"She didn't look at him;"
16"They moved with a singular,"
17"She stood up, her joints"
18"She gripped the brass compass"
19"She stepped forward, moving with"
ratio0.44
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount71
totalSentences75
matches
0"Detective Harlow Quinn stepped over"
1"The air hung thick with"
2"She didn't look at the"
3"Officer Miller didn't look up"
4"He stood near a crudely"
5"Quinn replied, her gaze tracking"
6"She checked the worn leather"
7"It was tighter than usual,"
8"Miller sighed, scratching the back"
9"she said, crouching beside a"
10"She pulled a pair of"
11"She picked up a small,"
12"She nudged it open."
13"Her fingers brushed against a"
14"Quinn commanded, pointing to the"
15"It hadn't been kicked in"
16"The grains were pulled outwards,"
17"Miller finally looked up, his"
18"He walked over, his heavy"
19"Miller blinked, his expression blank."
ratio0.947
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences75
matches(empty)
ratio0
58.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount6
matches
0"Beneath her boots, the heavy tiles groaned, a low, ominous sound that reverberated through the hollowed-out tunnel."
1"The station groaned again, this time a long, structural moan that shook the floorboards."
2"A sharp, rhythmic clicking began to echo from the dark expanse of the tunnel—a rhythmic, claw-on-stone sound that set her teeth on edge."
3"She stepped forward, moving with the precision of a woman who had spent eighteen years cataloguing the worst of human nature, only to realise that the true mons…"
4"She pulled a small, silver-bound vial she kept hidden beneath her jacket lining, the contents shifting like liquid mercury."
5"He was staring at the wall, where the flickering light of the compass seemed to be dissolving the very paint from the tiles, leaving behind images that shifted …"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount5
matches
0"Miller stepped back, his hand instinctively gravitating toward his holster"
1"Quinn said, her voice dropping to a low, measured tone"
2"She stood up, her joints popping in the silence"
3"she snapped, not taking her eyes off the dark"
4"she shouted, but her voice was swallowed by the sudden, deafening roar of the tunnel"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount5
fancyTags
0"Miller demanded (demand)"
1"she ordered (order)"
2"Miller sputtered (sputter)"
3"she snapped (snap)"
4"she shouted (shout)"
dialogueSentences26
tagDensity0.385
leniency0.769
rawRatio0.5
effectiveRatio0.385
66.1324%