Run: 2026-05-27-01KSMEWD8ARDXYXT38DNB1ZDK0

Run Details

Duration:
37.3s
Cost:
$0.003999
Provider:
Parasail

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
"How long's it been, Quinn?" Davies looked up from the sigil etched into the wall. His face, half-hidden behind a camera, was shadowed, but the tiredness came through clear as a bell in his voice. "Things sure have changed." Detective Harlow Quinn nodded as she stepped through the doorway. She wore her hair closely cropped, and a hint of salt-and-pepper betrayed her years in the force. At thirty-eight, she recalled the first time she'd sung sight of a ritualistic murder scene. Streamers of blood, geometric designs painted in viscera, reeking entrails twisted on a makeshift altar. Rene Davies and she had barely been detectives, a decade newer and younger, back then. She glanced over Davies' shoulder, ran her eyes across the sigils. Patterns swirled, intertwined, spirals within circles, over a low landscape, twining breasts. "They're not Greek." Quinn smiled with a nod. "Nor Latin, Squared." Mycroft Davies rolled his eyes. "Well, whatever they're not, they're bleeding fresh. Like...Really fresh." He pointed to a symbol, still dripping red. Quinn went down on a knee, holding her hand beneath it, palm up. "It's warm." She frowned, looked at Davies. "This was painted after she bled out. Before rigor set." "It loks of shrunk to me," Davies shook his head. "And she doesn't have any visible head injuries." Quinn snorted. "If she fell, her head must have bounced off a wall like a bumper car. She's bleeding from every facial orifice. Plus, SCG traces. No way she wasn't nailing this to the wall." Davies shook his head. "But if she fell and her head bled on the floor, then...How did the symbol make it up on the wall?" Quinn shrugged. "The wife was last seen yesterday morning, six hours before Malaysian Airlines 216 went down. The husband, Mr Gryphon, hasn't been at work since." "Isn't that Italy's destiny?" Davies deadpanned. "He's third generation Yorkshire. Wouldn't cross the Pennines for a field promotion, according to his boss. Poorer than a Yorkshireman, he is." Quinn stood, grunting softly as she straightened her back. Davies stayed down, arms across his knotty knees. "Throat was slit, right to left. Down and out. Skin under the blood is wet. And she's pale, Quinn. Really pale. Feet are bluing. Around the nipples and thighs, as well. The only place other than the face where she bled heavily is, well...the rest of a.k.a. the pool." "Andboi, the smell." Quinn exhaled through her nose. "Like that timeSeven-Three hit the chemical factory." "But not chemical. Not with her lacking any on main." Davies frowned. "Could be nerve agent, though. Slows the heart down to ahalt. Causes massive...organic failures." "Fuck me." Quinn rubbed her temple. "So if Mr Gryphon didn't do it, it could be a suicide she'd painted a ritual into with this?" The iron reek made her nose hurt. "And ritual suicide." Davies pointed at the symbols again. "No one saw her writing them. Unless it was a cult sacrifice and Gryphon really wasn't home...should we be in hazmat?" Quinn rose to her feet, stretched her stiffness out with a military precision. "Cup of tea first. Order some in a.m. And let's see what Forensics says." She frowned. "Howdy goes at Cameron's gallery today. I'm sure he'd like to know." Of course, a cup of tea was not an actual possibility, given that they were still in Cornwall, at the dead of night, in an abandoned fishing parlor, crawling with Police who'd ever seen a scene like this. Hours of slogging through video tapes, lab work, waiting on next of kin, all that. Quinn leaned against the door frame, and took one last look round. Probably best not to trust anyone, he was right about their mate. Met him this afternoon, and he didn't mention a damn thing. While Gryphon did, and this little party happened almost in front of his gallery's front door. Shit, no. Shouldn't think like that. "C'mon, Davies. Let's go recreate that last meal while we wait for this scene to wake up." She stepped out into the cool night, inhaling the tang of sea salt and fish. Pure contrast to the stench of that...room. "Why are we always eating around here?" A raunchy meeting with one of the fished that showed up blood-drunk a'drunk on decent ale the whole sordid affair. Quinn hardly noticed. Something総是 afoot, and she was usually the only one who saw it. A veteran detective who'd survived being pointed a gun, saved a manic in the nick of time, and somehow still kept her sense of pq une une supply of humor in an age keen to lose 'em. "Perhaps it's my luck." Davies said wryly. "Or just the mayo. Have you noticed that whatever place mochi has sucks?" Quinn shrugged. "Could be. What every happened to cheeseburgers?" "I swear, cassette Scottish staff and can't stop," Davies grinned. "Sorry. That was racist." "Not funny." Quinn stuffed his lip, and squinted out over the bustling street. "Idiots." "They're just into it, Quinn. Brits like oddities." "Ones that taste of mayonnaise and boneless battered whatnot, yes. Beats me." She kicked. "Told by you can make this pastry out of the blood, eh?" Davies shuddered. "Sorry. Here." He handed her a plate of strange shrimp. "Fishy enough, but definitely edible." "We're in Cornwall." Quinn kept her eyes. "No problem, I was wrong about the mayo." Whatever. These kind of details are expensive as hell to print. Davies went over the conversation, each turn in the memory like stepping on fingers. With Quinn. The woman was impossible! Reliving the moment twisted in his head. Going over scenes, symbols, everything. Seeing her face when he made his, then having her tell him off. Year by year. Just like that, Davies shrugged, gone like that. "You ready for that second swap, Teo?" Bam! There he was, "MR Qin." Quinn winced. "Pete, please. No O.CTs today, alright? Let's wrap this scene and sit with the wife, see what she saw or heard. Don't care what make-up is, it gets off. Her. You asked, right?" Davies nodded. He couldn't feel his hands. The water was cold, and they'd been scraping evidence for hours. Still, no stones had been unturned... "Nah come off it!" He laughed. "I don't even like it, blokes! It's a good job too, though. Wear your palmetto and your suit. Bring extra towels, Davies said, dry ones this time. And your deputy too, if you need him to." "Got it." Behind them, blood dripped dark in the runoff. Down the drain. Past the drain. Davies snarked. Quinn glanced back over her shoulder. Maybe it was weird to see a detective with a boxer dog in their front row. Still, Leo was one of them, now. Present and accounted for. Davies shrugged. "He's ex-army too. Knows this game." It looked like it hit the dog when that gun went off, during the meeting. Quiet as a mouse. Butluckily everything quieted down after, so Davies brought him along, and as Quinn exhaled a little smoke, happy for the balmy breeze, she understood: even a grumpy dog is better than no company at all. They closed the lorry doors, locked it tight, left Detective Harlow Quinn with the worst damn alibi she'd ever sought, and the stench to match. Davies scanned the scene one last time. His colleague's words echoed in his mind. "You sure about this one, PG?" Quinn glanced at him, a knowing smile... "Don't ever doubt me. Trust me." The words seemed to carry the weight of time itself, accounting for all her years in service and scrutiny, experience and wisdom. She was one of the good ones, Davies knew. Just a bit stubborn. He hefted his gear. "Getting snags on the hearse coming out, though. Care to do the honors?" "Thought you'd never ask. Go." Perhaps she was right. Perhaps this case would unfold in ways that he never could've imagined, with more layers and mystery than even his imaginative mind could conjure. Only time would reveal the truth. For now, their reality was the warmth of a steaming cup of tea. At The Baited Fish, Hove. And Queens Hispanique. Queens at the gates. Davies stared at a display. He just joked about the old kids, their keepers, their time... But no one laughed. The silence stretched out, as heavy as perhaps a statue for the imposed silence the nickers put on them. Queens for the curve. Davies couldn't believe what he saw. When he saw them in person, no less. Queens at The Gates.
created_at"2026-05-27T10:15:02.185Z" 5/27/2026, 10:15:02 AM
model"thedrummer/skyfall-36b-v2"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency582
moderation_latency(null)
generation_time37177
tokens_prompt4671
tokens_completion2149
native_tokens_prompt4323
native_tokens_completion2027
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.00399925
router(null)
provider_responses
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endpoint_id"1eb01ded-ae11-49e6-8aa6-3067584070bd"
id"chatcmpl-95250b99398bf5d1"
is_byokfalse
latency582
model_permaslug"thedrummer/skyfall-36b-v2"
provider_name"Parasail"
status200
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount1
adverbTags
0"Davies said wryly [wryly]"
dialogueSentences52
tagDensity0.423
leniency0.846
rawRatio0.045
effectiveRatio0.038
85.91% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1419
totalAiIsmAdverbs4
found
0
adverb"really"
count3
1
adverb"softly"
count1
highlights
0"really"
1"softly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
71.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1419
totalAiIsms8
found
0
word"etched"
count1
1
word"sense of"
count1
2
word"scanned"
count1
3
word"echoed"
count1
4
word"weight"
count1
5
word"warmth"
count1
6
word"silence"
count2
highlights
0"etched"
1"sense of"
2"scanned"
3"echoed"
4"weight"
5"warmth"
6"silence"
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
narrationSentences103
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences103
filterMatches(empty)
hedgeMatches
0"seemed to"
98.26% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences133
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen49
ratio0.008
matches
0"Something総是 afoot, and she was usually the only one who saw it."
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1419
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions63
wordCount869
uniqueNames17
maxNameDensity2.65
worstName"Davies"
maxWindowNameDensity4.5
worstWindowName"Quinn"
discoveredNames
Harlow2
Quinn20
Davies23
Patterns1
Mycroft1
Cornwall1
Police1
Gryphon1
Pure1
Leo1
Detective2
Baited1
Fish1
Hove1
Queens4
Hispanique1
Gates1
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Patterns"
4"Mycroft"
5"Gryphon"
places
0"Cornwall"
1"Baited"
2"Gates"
globalScore0.177
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences54
glossingSentenceCount1
matches
0"looked like it hit the dog when that gun"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1419
matches(empty)
91.48% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences133
matches
0"given that they"
1"fished that showed"
2"like that, Davies"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean24.89
std21.11
cv0.848
sampleLengths
039
172
223
311
414
58
613
717
818
935
1025
1126
126
1322
149
1557
1615
1726
1832
1930
2013
2128
22110
2346
2492
259
2614
2714
288
2926
3017
3115
3267
3313
3435
3524
3642
3718
3833
398
4054
4125
4220
437
446
4535
4617
475
4834
4913
95.04% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences103
matches
0"was shadowed"
1"being pointed"
2"been unturned"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs154
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences133
ratio0
matches(empty)
99.68% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount545
adjectiveStacks0
stackExamples(empty)
adverbCount22
adverbRatio0.04036697247706422
lyAdverbCount8
lyAdverbRatio0.014678899082568808
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences133
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences133
mean10.67
std8.7
cv0.815
sampleLengths
015
120
24
310
417
515
615
715
811
912
108
113
125
139
148
1513
167
1710
1810
198
202
2133
224
2321
242
2524
266
2722
289
298
3049
318
327
3312
3414
356
3626
379
3821
3913
4016
4112
4238
4315
4412
4512
4611
4716
482
494
99.25% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats1
diversityRatio0.6090225563909775
totalSentences133
uniqueOpeners81
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount9
totalSentences85
matches
0"Of course, a cup of"
1"Probably best not to trust"
2"Just like that, Davies shrugged,"
3"Maybe it was weird to"
4"Butluckily everything quieted down after,"
5"Just a bit stubborn."
6"Perhaps she was right."
7"Perhaps this case would unfold"
8"Only time would reveal the"
ratio0.106
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount14
totalSentences85
matches
0"His face, half-hidden behind a"
1"She wore her hair closely"
2"She glanced over"
3"He pointed to a symbol,"
4"She frowned, looked at Davies"
5"She stepped out into the"
6"He handed her a plate"
7"He couldn't feel his hands."
8"It looked like it hit"
9"They closed the lorry doors,"
10"His colleague's words echoed in"
11"She was one of the"
12"He hefted his gear."
13"He just joked about the"
ratio0.165
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount55
totalSentences85
matches
0"Davies looked up from the"
1"His face, half-hidden behind a"
2"Detective Harlow Quinn nodded as"
3"She wore her hair closely"
4"Streamers of blood, geometric designs"
5"Rene Davies and she had"
6"She glanced over"
7"Patterns swirled, intertwined, spirals within"
8"Quinn smiled with a nod"
9"Mycroft Davies rolled his eyes."
10"He pointed to a symbol,"
11"Quinn went down on a"
12"She frowned, looked at Davies"
13"Davies shook his head"
14"Davies shook his head."
15"Quinn stood, grunting softly as"
16"Davies stayed down, arms across"
17"Quinn exhaled through her nose"
18"Quinn rubbed her temple"
19"The iron reek made her"
ratio0.647
58.82% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences85
matches
0"While Gryphon did, and this"
ratio0.012
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences30
technicalSentenceCount1
matches
0"Of course, a cup of tea was not an actual possibility, given that they were still in Cornwall, at the dead of night, in an abandoned fishing parlor, crawling wi…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"He laughed (laugh)"
dialogueSentences52
tagDensity0.038
leniency0.077
rawRatio0.5
effectiveRatio0.038
93.8973%