Run: 2026-05-10-01KR92WYNBWBSQ2V5E67X34KKV

Run Details

Duration:
11.3s
Cost:
$0.003674
Provider:
Google AI Studio

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
The heavy iron gate shrieked, resisting my boot, but I shoved it aside and felt the bitter London rain turn into a freezing torrent. My quarry bolted across the slick cobblestones of the alleyway, a shadow against the dim orange glow of the streetlamps near Camden. I counted his strides. Three, four, five. He was fast, favouring his right leg, but he lacked the discipline for a sustained crawl. "Stop right there, Herrera!" He didn't flinch, just veered hard left, vaulting over a stack of rotted wooden pallets. He was heading for the old Northern Line descent. I drew my service pistol, the cold steel biting into my palm, but held my fire. A dead suspect wouldn't lead me to the source of the recent disappearances, and I needed him tied to the mess I’d been tracking for weeks. I slammed onto the pavement, the impact jarring my teeth, and sprinted after him, my own breaths hitching in the damp evening air. Ahead, the entrance to the abandoned tube station gaped like a jagged, black wound in the earth. The air here tasted of ozone and ancient, stagnant rot. "You have nowhere to go, Tomás! The station is blocked!" He didn't answer. He just plunged into the dark. I reached the threshold, my pulse hammering a frantic rhythm against my ribs. I flicked on my torch, the beam slicing through the gloom to reveal graffiti-covered tiles and the rusted remains of a turnstile. My worn leather watch showed midnight. Somewhere in the deep, a low hum vibrated through the soles of my shoes, rhythmic and aggressive, like a heartbeat. I hovered on the edge of the stairwell. My gut twisted, that familiar, unwelcome prickle of warning I hadn't felt since the day I lost Morris. This place was wrong. It defied the logic of city planning, smelling of charcoal and burnt ozone, an olfactory marker for those who traded in things that didn't play by the rules of biology. I stepped down, my boots crunching on crushed glass and dry, brittle bones. The further down I descended, the more the air shimmered, thick with a static charge that raised the hair on my arms. The descent spiralled into a vast, cavernous hall where the old rusted tracks once laid. Now, the station played host to the Veil Market. Neon strips, stolen from better parts of London, cast erratic pulses of emerald light across a labyrinth of makeshift stalls draped in heavy, velvet fabric. I kept my back to the wall, scanning the crowd. It wasn't a human crowd. Figures clad in layered, stained cloaks slunk through the aisles, their movements twitchy and unnatural. Someone sat on an overturned milk crate, selling jars filled with swirling, translucent smoke, while another barked demands for a bone token from a terrified-looking courier. Herrera was nowhere to be seen. "You're a long way from the precinct, Detective." The voice slithered out from the dark, cold and sharp. I spun, sweeping my torch until the beam locked onto a broad-shouldered man standing in the shadow of a crumbling pillar. He leaned against a rusted support beam, arms crossed over a torso draped in dark leather. "I’m looking for a man. Hispanic, curly hair, walks with a slight limp." "Everybody in the city is looking for someone, Harlow. It's the primary export of this miserable island." I took a predatory step forward, the gun held steady at my side. "Don't play word games. I saw him head this way. If he’s here, he’s in breach of three city ordinances and potentially a breach of international law, depending on what he’s carrying." "The law?" The man let out a dry, rattling laugh, his eyes shifting a shade of unnatural, reflective silver. "The law died in these tunnels long before you started pinning badges to your coat. You're trespassing in a space that doesn't acknowledge your authority." "I don't need acknowledgement. I need a confession." I pushed past him, my ears straining for the sound of Herrera's ragged breathing. I navigated a tight corridor formed by shelves stacked high with dried herbs and rusted, serrated blades. The heat here was suffocating, a heavy, cloying humidity that clung to my skin. I passed a table where a woman with elongated, spider-like fingers carefully stitched a glowing, pulsing organ into a wooden doll. She didn't look up; she just clicked her teeth, a sound like dry wood snapping. I turned a sharp corner and saw him. Herrera stood at a stall draped in mismatched silks, his hand pressed against his chest over the faint outline of a circular medallion. He was arguing with an elderly vendor whose face looked like a topographic map of scar tissue. "I need it now," Herrera whispered, his voice desperate. "She's fading, and the standard infusions aren't taking." "The cost for that requires more than mere currency, boy," the vendor hissed, pulling a small, corked vial of shimmering, violet liquid from an iron box. "A piece of your memory. A clear, childhood one. Best if it involves someone you haven't seen in a long time." I didn't wait any longer. I lunged, closing the distance between us in three long, silent strides. I grabbed Herrera by the shoulder and spun him around, my weapon pressed into his side. "End of the line, Tommy." His eyes widened, reflecting the sickly green glow of the market. He looked at me, then at the vial, then back at the dark, crowded aisles. His hands trembled, his left forearm marked by that jagged, white scar. "Quinn. You don't understand. If I stop, if I let the symptoms progress, it won't just be me. It'll be everything she touched." "I don't care about your medical drama, Herrera. You're coming to the station. You're going to talk about the warehouse on Wapping, and you're going to tell me exactly how you managed to burn clean a crime scene that should have left a dozen bodies." "I didn't burn it," he spat, his voice dropping to a frantic, low hum. "I saved them. From things you can't even perceive in your fancy, lit-up world." "Save the lecture for the DA." I reached for my cuffs, but the atmosphere in the cavern dropped ten degrees in a single heartbeat. The market attendees, who had been busy with their grotesque trades, suddenly fell silent. Every head in the station turned toward us. The woman with the thin fingers stood up, her shadows growing long and reaching across the floor like oily, predatory limbs. "The Detective is persistent," the creature said, her voice sounding like a thousand distant whispers. "But she is also very, very fragile." Herrera looked at the crowd, then at me. His face went pale. "You shouldn't have followed me, Harlow." A low, guttural roar echoed from the deeper, darker tunnels behind the stalls. The ground shuddered. Dust rained from the subway ceiling, coating us in a layer of grey, suffocating silt. "What is that?" I gripped my piece tighter, my knuckles white. Herrera didn't look at me. He stared back into the darkness of the tunnel mouth, his breath coming in short, ragged bursts. "That's the reason I left the hospital," he said. "And it's the reason neither of us is walking out of here." The crowd parted. A massive, hulking shape detached itself from the gloom, its hide shimmering with scales that sucked the light from the air. It wasn't human. It was something starved, something angry, and it was looking directly at the silver badge pinned to my jacket. The beast lunged, and the sound of iron scraping concrete filled the cavern as the market went chaotic.
created_at"2026-05-10T13:58:16.51Z" 5/10/2026, 1:58:16 PM
model"google/gemini-3.1-flash-lite-20260507"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency600
moderation_latency(null)
generation_time11121
tokens_prompt4663
tokens_completion1920
native_tokens_prompt4507
native_tokens_completion1698
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"
usage0.00367375
router(null)
provider_responses
0
endpoint_id"237af107-d2e9-46c7-b146-c74d75980dee"
id"-I4AavKKLOKymtkPi4D5CA"
is_byokfalse
latency600
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-1778421496-nzsJNEQfPKP5Z0rLEgaf"
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api_type"completions"
id"gen-1778421496-tAhs3GjC2GwCpo3MuYDb"
upstream_id"-I4AavKKLOKymtkPi4D5CA"
total_cost0.00367375
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences25
tagDensity0.28
leniency0.56
rawRatio0
effectiveRatio0
84.35% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1278
totalAiIsmAdverbs4
found
0
adverb"carefully"
count1
1
adverb"suddenly"
count1
2
adverb"very"
count2
highlights
0"carefully"
1"suddenly"
2"very"
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)
37.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1278
totalAiIsms16
found
0
word"pulse"
count1
1
word"flicked"
count1
2
word"gloom"
count2
3
word"vibrated"
count1
4
word"rhythmic"
count1
5
word"familiar"
count1
6
word"shimmered"
count1
7
word"velvet"
count1
8
word"scanning"
count1
9
word"navigated"
count1
10
word"standard"
count1
11
word"trembled"
count1
12
word"echoed"
count1
13
word"hulking"
count1
14
word"chaotic"
count1
highlights
0"pulse"
1"flicked"
2"gloom"
3"vibrated"
4"rhythmic"
5"familiar"
6"shimmered"
7"velvet"
8"scanning"
9"navigated"
10"standard"
11"trembled"
12"echoed"
13"hulking"
14"chaotic"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences73
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences73
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences91
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1278
ratio0
matches(empty)
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
totalMentions15
wordCount980
uniqueNames8
maxNameDensity0.71
worstName"Herrera"
maxWindowNameDensity2
worstWindowName"Herrera"
discoveredNames
London2
Camden1
Northern1
Line1
Morris1
Veil1
Market1
Herrera7
persons
0"Morris"
1"Market"
2"Herrera"
places
0"London"
1"Camden"
2"Veil"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences60
glossingSentenceCount1
matches
0"looked like a topographic map of scar tis"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1278
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences91
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs40
mean31.95
std23.08
cv0.722
sampleLengths
069
14
266
350
410
59
661
773
871
956
106
118
1247
1313
1417
1513
1632
1744
188
1981
208
2140
2217
2347
2433
255
2638
2723
2845
2928
306
3161
3222
3312
346
3531
3611
3722
3821
3964
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences73
matches(empty)
42.21% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs169
matches
0"was heading"
1"was suffocating"
2"was arguing"
3"was looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences91
ratio0.011
matches
0"She didn't look up; she just clicked her teeth, a sound like dry wood snapping."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount983
adjectiveStacks0
stackExamples(empty)
adverbCount21
adverbRatio0.021363173957273652
lyAdverbCount6
lyAdverbRatio0.006103763987792472
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences91
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences91
mean14.04
std7.66
cv0.546
sampleLengths
024
122
24
33
416
54
615
79
816
926
1023
1117
1210
1310
143
156
1613
1722
186
1920
208
2118
224
2330
2413
2522
2615
279
2825
2910
305
3115
3226
336
348
3510
3621
3716
3813
3917
4013
4132
4219
4325
448
4514
4617
4714
4821
4915
40.66% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.32967032967032966
totalSentences91
uniqueOpeners30
46.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences72
matches
0"Somewhere in the deep, a"
ratio0.014
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences72
matches
0"My quarry bolted across the"
1"I counted his strides."
2"He was fast, favouring his"
3"He didn't flinch, just veered"
4"He was heading for the"
5"I drew my service pistol,"
6"I slammed onto the pavement,"
7"He didn't answer."
8"He just plunged into the"
9"I reached the threshold, my"
10"I flicked on my torch,"
11"My worn leather watch showed"
12"I hovered on the edge"
13"My gut twisted, that familiar,"
14"It defied the logic of"
15"I stepped down, my boots"
16"I kept my back to"
17"It wasn't a human crowd."
18"I spun, sweeping my torch"
19"He leaned against a rusted"
ratio0.556
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount68
totalSentences72
matches
0"The heavy iron gate shrieked,"
1"My quarry bolted across the"
2"I counted his strides."
3"He was fast, favouring his"
4"He didn't flinch, just veered"
5"He was heading for the"
6"I drew my service pistol,"
7"A dead suspect wouldn't lead"
8"I slammed onto the pavement,"
9"The air here tasted of"
10"He didn't answer."
11"He just plunged into the"
12"I reached the threshold, my"
13"I flicked on my torch,"
14"My worn leather watch showed"
15"I hovered on the edge"
16"My gut twisted, that familiar,"
17"This place was wrong."
18"It defied the logic of"
19"I stepped down, my boots"
ratio0.944
69.44% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences72
matches
0"Now, the station played host"
ratio0.014
65.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount5
matches
0"It defied the logic of city planning, smelling of charcoal and burnt ozone, an olfactory marker for those who traded in things that didn't play by the rules of …"
1"The heat here was suffocating, a heavy, cloying humidity that clung to my skin."
2"The market attendees, who had been busy with their grotesque trades, suddenly fell silent."
3"The woman with the thin fingers stood up, her shadows growing long and reaching across the floor like oily, predatory limbs."
4"A massive, hulking shape detached itself from the gloom, its hide shimmering with scales that sucked the light from the air."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount4
matches
0"Herrera whispered, his voice desperate"
1"he spat, his voice dropping to a frantic, low hum"
2"the creature said, her voice sounding like a thousand distant whispers"
3"I gripped, my knuckles white"
30.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"Herrera whispered (whisper)"
1"the vendor hissed (hiss)"
2"he spat (spit)"
dialogueSentences25
tagDensity0.2
leniency0.4
rawRatio0.6
effectiveRatio0.24
77.1860%