Run: 2026-05-20-01KS263QB33C9BGHBQ21TW19Q1

Run Details

Duration:
13.8s
Cost:
$0.020013
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
"He doesn't have a pulse, Harlow, but his watch is still ticking." Detective Sergeant Miller stood over the body, his torchlight cutting through the damp, heavy gloom of the disused Underground platform. "They tend to do that, Miller. Springs don't stop just because hearts do." Harlow Quinn stepped around a puddle of oily water, her boots crunching on grit. She adjusted the worn leather watch on her left wrist, her eyes sweeping the perimeter of the derelict Camden platform. The air carried the sharp, biting scent of ozone and stagnant water. It was far too cold for late spring, even forty feet beneath the pavement. "No, you don't understand," Miller said, lowering the beam. "Look at the sweep. It's moving backward." Harlow knelt beside the victim. A young man, early twenties, dressed in expensive designer streetwear that looked absurdly out of place against the blackened tiles of the abandoned Tube station. He lay sprawled on his back, eyes glassy and stared flatly at the cracked ceiling. No blood. No visible trauma. But his wristwatch, a heavy silver chronograph, was indeed ticking in reverse. "Time of death isn't in our manual for this one," Harlow muttered. "The boys upstairs think it's an overdose," Miller said, gesturing toward the stairs. "A couple of teenagers found him. Said they were urban exploring. Reckon he wandered down here to get high, took a bad turn." "He's wearing bespoke Italian leather shoes, Miller. Down here? He didn't wander. He had an appointment." Harlow leaned closer, pulling a small silver penlight from her pocket. She parted the boy's lips. The tip of his tongue was stained a bruised, unnatural violet. "And unless his local dealer started cutting heroin with crushed amethyst, he didn't buy his fix on a street corner." "An exotic poison, then?" "Look at his fingers." Harlow gently lifted the victim's left hand. Clutched tightly in his stiffening palm was a small, wedge-shaped object. She pried the fingers open. It was a fragmented piece of porous white material, roughly the size of a fifty-pence piece. "Chalk?" Miller asked. "Bone," Harlow corrected, her sharp jaw tightening. She scraped her thumbnail against the edge. "Old bone. Burnt." "A token," a soft voice whispered from the darkness of the southbound tunnel. Harlow stood up instantly, her hand dropping to the holster beneath her coat. "Who's there? Police! Step into the light." A young woman emerged from the shadows of the arched tunnel. Curly red hair caught the glow of Harlow's torch, framing a pale, freckled face. She wore round glasses and clutched a worn leather satchel to her side, her knuckles white against the strap. "I didn't mean to startle you, Detective," Eva Kowalski said, nervously tucking a stray lock of red hair behind her left ear. "This is a sealed crime scene," Harlow said, her voice dropping to a dangerous register. "How did you get past the barricade at the surface?" "The barricades only block the entrances people know about," Eva said. She looked down at the body, her green eyes widening behind her spectacles. "Oh, God. It's Julian." "You know him?" Harlow stepped between Eva and the corpse, her military precision evident in her stance. "Name." "Eva Kowalski. And that's Julian Vance. He's... he was a collector." "A collector of what, Miss Kowalski?" "Things that shouldn't exist." Eva took a shallow breath, her gaze darting to the bone fragment in Harlow's hand. "He was trying to get into the Veil Market. It moves every full moon. Tonight it's here, right beneath Camden." Miller chuckled, a dry, raspy sound. "A market? Down here? Miss, the only things sold down here are tetanus and bad decisions." "Shut up, Miller," Harlow snapped. She kept her eyes locked on Eva. The name Kowalski ticked a box in her mental ledger. "You're the research assistant from the British Museum. The one who keeps requisitioning files from the 1890 Metropolitan Police archives." Eva swallowed hard, her fingers playing with the buckle of her satchel. "I study historical anomalies." "You study things that get people killed," Harlow said. She held up the bone token. "Explain this." "It's an entry requirement," Eva said, her voice trembling slightly. "You present the bone token to the gatekeeper. If the bone matches the lineage of the seller, you pass. If it's a forgery..." She nodded toward Julian's body. "The ward takes your breath. It turns your tongue to ash from the inside out." "That's absurd," Miller said, though he shifted his weight uneasily. "Harlow, we need to get paramedics down here to transport the body. This girl is clearly trespassing and unhinged." "The body can wait," Harlow said. She felt a cold prickle of familiarity at the back of her neck. It was the same icy sensation she had felt three years ago, standing over the lifeless body of her partner, DS Morris. The official report said heart failure. Harlow knew better. Morris had been chasing a lead into the dark, just like this. She reached into her inner coat pocket and pulled out a small brass compass. The metal casing had a thick patina of verdigris, and the face was etched with strange, protective sigils. Eva gasped. "A shadow compass. Where did you get that?" "A dead man," Harlow said flatly. She held the compass flat in her hand. The needle did not point north. Instead, it trembled violently, spinning in a frantic circle before locking onto the dark mouth of the southbound tunnel—the very place Eva had just emerged from. "It's close," Eva whispered, taking a step back. "The portal is opening." "Miller, stay with the body," Harlow ordered. "Harlow, wait," Miller said, reaching for her arm. "You can't go down there. We don't have backup. We don't even have radio reception." "Then don't get lost," Harlow said. She started down the tracks, her boots splashing through the shallow, muddy water between the wooden sleepers. The air grew progressively warmer as she walked, smelling of old paper, melted wax, and exotic spices. The silence of the disused subway was replaced by a low, rhythmic thrumming, like a giant heart beating beneath the clay of London. Eva hurried after her, her satchel bouncing against her hip. "Detective, you don't understand the rules of the Market. You can't just flash a badge. They don't recognize the Queen's peace down here." "I don't care about their peace," Harlow said, her eyes fixed on the compass needle. "I care about justice. Three years late, but I'll take it." The tunnel curved sharply to the left. As they rounded the bend, the darkness vanished, replaced by a flickering, amber glow. Harlow stopped dead in her tracks. The abandoned railway tunnel had opened into a massive, cavernous chamber. Stalls made of salvaged wood and iron tressels lined the tracks, illuminated by floating glass lanterns. Hundreds of figures moved through the crowd, some dressed in normal civilian clothes, others draped in heavy, hooded cloaks that seemed to swallow the light. The air was thick with the chatter of a dozen different languages and the scent of roasting meats, ozone, and burning incense. "Welcome to the Veil Market," Eva whispered, her voice a mix of awe and terror. Harlow's hand rested on the butt of her pistol. She scanned the crowd. At the nearest stall, a man with pale, translucent skin was selling glass vials filled with shimmering, silvery liquid. Beside him, an old woman with feathers woven into her hair argued with a buyer over a cage containing a small, skeletal bird that chirped in reverse. Suddenly, a loud, brassy bell rang out from the center of the market. The crowd parted. A tall figure in a tailored crimson suit stepped onto a raised wooden platform. His face was entirely hidden behind a polished porcelain mask, painted with the likeness of a weeping willow. "The auction of the three-faced key begins now," the masked man announced, his voice echoing off the brick walls with unnatural clarity. "We accept blood, secrets, or bone." Harlow felt a surge of adrenaline. This wasn't just a black market. It was a circus of the damned. She took a step forward, but Eva grabbed her sleeve. "Look," Eva hissed, pointing toward the edge of the platform. A man in a dark trench coat was slipping through the crowd, heading toward the back exit of the chamber. He carrying a heavy leather case, and his movements were frantic, rushed. "That's him," Harlow said, her instincts taking over. "The seller." She broke into a run, dodging past a startled vendor who dropped a tray of glowing blue crystals. "Stop!" Harlow shouted, her voice cutting through the market chatter. "Police!" The man in the trench coat froze, turned, and saw the badge in Harlow's hand. His eyes widened in panic. He didn't run. Instead, he reached into his pocket and pulled out a small, glass sphere filled with black, swirling smoke. "Get down!" Eva screamed from behind. The man smashed the sphere onto the stone floor.
created_at"2026-05-20T07:55:24.906Z" 5/20/2026, 7:55:24 AM
model"google/gemini-3.5-flash-20260519"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency834
moderation_latency(null)
generation_time13685
tokens_prompt4671
tokens_completion2334
native_tokens_prompt4537
native_tokens_completion2077
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4063
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"
usage0.02001345
router(null)
provider_responses
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endpoint_id"bd50061c-e1d8-469e-96b1-d322e77378f8"
id"7WgNaunjA4LhjMcPkYOrmAE"
is_byokfalse
latency834
model_permaslug"google/gemini-3.5-flash-20260519"
provider_name"Google AI Studio"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.15.0; linux; x64))"
http_referer(null)
request_id"req-1779263724-V6CsG9qsfZJc9hNgnMm7"
session_id(null)
api_type"completions"
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upstream_id"7WgNaunjA4LhjMcPkYOrmAE"
total_cost0.02001345
cache_discount0.00548505
upstream_inference_cost0
provider_name"Google AI Studio"
response_cache_source_id(null)

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags31
adverbTagCount1
adverbTags
0"Harlow said flatly [flatly]"
dialogueSentences59
tagDensity0.525
leniency1
rawRatio0.032
effectiveRatio0.032
76.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1498
totalAiIsmAdverbs7
found
0
adverb"gently"
count1
1
adverb"tightly"
count1
2
adverb"nervously"
count1
3
adverb"slightly"
count1
4
adverb"very"
count1
5
adverb"sharply"
count1
6
adverb"suddenly"
count1
highlights
0"gently"
1"tightly"
2"nervously"
3"slightly"
4"very"
5"sharply"
6"suddenly"
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)
63.28% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1498
totalAiIsms11
found
0
word"pulse"
count1
1
word"gloom"
count1
2
word"fragmented"
count1
3
word"weight"
count1
4
word"etched"
count1
5
word"trembled"
count1
6
word"silence"
count1
7
word"rhythmic"
count1
8
word"scanned"
count1
9
word"porcelain"
count1
10
word"echoing"
count1
highlights
0"pulse"
1"gloom"
2"fragmented"
3"weight"
4"etched"
5"trembled"
6"silence"
7"rhythmic"
8"scanned"
9"porcelain"
10"echoing"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"air was thick with"
count1
highlights
0"eyes widened"
1"The air was thick with"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences100
matches
0"d in panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences100
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences128
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen28
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1497
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions23
unquotedAttributions0
matches(empty)
31.18% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions59
wordCount1052
uniqueNames13
maxNameDensity2.38
worstName"Harlow"
maxWindowNameDensity4
worstWindowName"Harlow"
discoveredNames
Sergeant1
Miller7
Underground1
Quinn1
Camden1
Harlow25
Tube1
Clutched1
Kowalski2
Eva15
Julian1
Morris2
London1
persons
0"Sergeant"
1"Miller"
2"Quinn"
3"Harlow"
4"Kowalski"
5"Eva"
6"Julian"
7"Morris"
places
0"London"
globalScore0.312
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount1
matches
0"cloaks that seemed to swallow the light"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1497
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences128
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs59
mean25.37
std17.78
cv0.701
sampleLengths
012
120
213
360
416
562
612
736
863
94
1011
1132
123
1317
1413
1520
1644
1722
1825
1928
2018
2111
226
2339
2422
2542
2616
2717
2853
2929
3062
3132
3210
336
3440
3512
367
3723
386
3957
4033
4126
4221
436
4474
4515
4659
4713
4835
4928
94.74% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences100
matches
0"was stained"
1"was etched"
2"was replaced"
92.47% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs186
matches
0"was indeed ticking"
1"was selling"
2"was slipping"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences128
ratio0.008
matches
0"Instead, it trembled violently, spinning in a frantic circle before locking onto the dark mouth of the southbound tunnel—the very place Eva had just emerged from."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1055
adjectiveStacks1
stackExamples
0"small, wedge-shaped object."
adverbCount27
adverbRatio0.025592417061611375
lyAdverbCount18
lyAdverbRatio0.017061611374407582
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences128
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences128
mean11.7
std6.52
cv0.558
sampleLengths
012
120
213
314
420
512
614
79
87
95
1025
1115
122
133
1412
1512
1613
1723
1827
195
2011
2120
224
2311
2411
255
2616
273
287
297
303
3113
3213
337
3411
3514
3619
3722
3815
3910
4011
4113
424
4317
441
4511
466
4719
4820
496
58.07% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.3671875
totalSentences128
uniqueOpeners47
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences90
matches
0"Instead, it trembled violently, spinning"
1"Suddenly, a loud, brassy bell"
2"Instead, he reached into his"
ratio0.033
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences90
matches
0"She adjusted the worn leather"
1"It was far too cold"
2"He lay sprawled on his"
3"She parted the boy's lips."
4"She pried the fingers open."
5"It was a fragmented piece"
6"She scraped her thumbnail against"
7"She wore round glasses and"
8"She looked down at the"
9"She kept her eyes locked"
10"She held up the bone"
11"She nodded toward Julian's body"
12"She felt a cold prickle"
13"It was the same icy"
14"She reached into her inner"
15"She held the compass flat"
16"She started down the tracks,"
17"She scanned the crowd."
18"His face was entirely hidden"
19"It was a circus of"
ratio0.278
15.56% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences90
matches
0"Detective Sergeant Miller stood over"
1"Harlow Quinn stepped around a"
2"She adjusted the worn leather"
3"The air carried the sharp,"
4"It was far too cold"
5"Miller said, lowering the beam"
6"Harlow knelt beside the victim."
7"A young man, early twenties,"
8"He lay sprawled on his"
9"Miller said, gesturing toward the"
10"Harlow leaned closer, pulling a"
11"She parted the boy's lips."
12"The tip of his tongue"
13"Harlow gently lifted the victim's"
14"She pried the fingers open."
15"It was a fragmented piece"
16"Harlow corrected, her sharp jaw"
17"She scraped her thumbnail against"
18"a soft voice whispered from"
19"Harlow stood up instantly, her"
ratio0.889
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences90
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount2
matches
0"A young man, early twenties, dressed in expensive designer streetwear that looked absurdly out of place against the blackened tiles of the abandoned Tube statio…"
1"Beside him, an old woman with feathers woven into her hair argued with a buyer over a cage containing a small, skeletal bird that chirped in reverse."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags31
uselessAdditionCount9
matches
0"Harlow corrected, her sharp jaw tightening"
1"Harlow said, her voice dropping to a dangerous register"
2"Harlow stepped, her military precision evident in her stance"
3"Eva took, her gaze darting to the bone fragment in Harlow's hand"
4"Eva said, her voice trembling slightly"
5"Eva whispered, her voice a mix of awe and terror"
6"man announced, his voice echoing off the brick walls with unnatural clarity"
7"Harlow said, her instincts taking over"
8"Harlow shouted, her voice cutting through the market chatter"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags26
fancyCount11
fancyTags
0"Harlow muttered (mutter)"
1"Harlow corrected (correct)"
2"a soft voice whispered (whisper)"
3"Harlow snapped (snap)"
4"Eva whispered (whisper)"
5"Harlow ordered (order)"
6"Eva whispered (whisper)"
7"man announced (announce)"
8"Eva hissed (hiss)"
9"Harlow shouted (shout)"
10"Eva screamed (scream)"
dialogueSentences59
tagDensity0.441
leniency0.881
rawRatio0.423
effectiveRatio0.373
79.7535%