Run: 2026-07-25-01KYCQTVFPE32NMABCZVA65AM9

Run Details

Duration:
1m 12s
Cost:
$0.129090
Provider:
Amazon Bedrock

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
The ladder ended forty feet down in a foot of dust, and Quinn's boots left the first clean prints she'd seen since Camden High Street. "Mind the third rung from the bottom," someone called after her. "It's more rust than rung." She didn't answer. She was looking at the platform. Two arc lamps stood at either end, borrowed from the Underground's engineering crew, throwing light that turned the tiles the colour of old teeth. Cranholt Street station had shut in 1924 and nobody had bothered to tell the posters. A woman in a cloche hat still advertised cocoa above the bench. Somebody had scratched out her eyes, and it looked recent. The body lay eight feet from the platform edge, on his back, hands folded on his chest like a man laid out by an undertaker with a schedule to keep. "DC Sandhu." Quinn peeled off one glove with her teeth and pulled on a fresh pair. "Talk." "Male, mid-thirties, no wallet, no phone." Sandhu had his notebook out and his collar up, and his breath came in small white clouds. "My money's on an urban explorer. They love these old stations. Get in through the vent shaft off the goods yard, take pictures for the internet, fall, break something important." "He's not broken." "He's not intact either, guv." She crouched. The wound sat under the sternum, a neat oval the size of a plum, the edges puckered and grey. No tearing. No flap of skin. It looked less like a stabbing than a place where something had been unscrewed. "Cauterised," she said. "Chemical, maybe. Some of them carry stoves. Camping gas." "Camping gas gives you blistering. Gives you smell." She leaned in, breathed. Under the mineral fug of a century of brake dust there was something else, thin and wrong. Burnt sugar. Toffee left too long in the pan. Her hands went still. Three years, and she'd never found a word for that smell. She'd written it in the margin of the Morris file in biro: *sweet, cooked, not food.* Nobody had asked her about it. Nobody ever did. "Guv?" "Where's the blood?" Sandhu pointed with his pen. "Right there. Pooled under him." "That's a saucer." Quinn traced the air above the dark stain, an inch off the concrete, mapping it. "A wound through the diaphragm empties a man like a bath. You'd have it in the tile grout, you'd have it running to the drain channel, you'd have it under the bench. This is what you'd get from a nosebleed and a bad night." "Could've been moved. Killed elsewhere, dumped here." "Then look at his shoes." Sandhu looked. To his credit, he crouched and looked properly, which was why she kept him. Brogues. Good ones, resoled. And clean. Not a smear of the pale grey dust that lay over the platform like flour over a kitchen floor, the dust that had already turned Quinn's trousers the colour of a rain cloud from ankle to knee. "So he was carried," Sandhu said. "Two men, maybe three, down that ladder." "Down a forty-foot ladder with a corpse and neither of them left a single print." She stood and swept the arc lamp's beam with her eyes. "There are prints. Look properly." He did. And she watched his face change, which was the part she liked, the small collapse when a scene stopped being a story and became a question. The dust was covered in footprints. Hundreds. Boots, bare feet, something with three toes and a long heel that she chose not to name yet. They crowded the platform from wall to edge, overlapping, layered, a market-day churn of them. And every single one pointed away from where the body lay. Not one came towards it. "That's not possible," Sandhu said. "It's not impossible. It's just not what we assumed." Quinn walked the platform's length, slow, hands behind her back like a man inspecting a regiment. "See these? Rectangles. Clean rectangles, no dust inside them, edges sharp as a cut. Eleven of them. Spaced with a gangway between." "Stalls," Sandhu said, after a moment. "Like a market." "Trestles. Something stood here long enough to keep the dust off the concrete and then left in a hurry, and everybody left with it, all at once, all in the same direction." She stopped and tapped the toe of her boot against the tile. "Full moon was Tuesday." "Sorry?" "Nothing." She wasn't ready to say the rest of it out loud. Not to a man with a mortgage and a pension. At the far end, where the platform ran into the black throat of the tunnel, the tiles wore a coating of frost. Not damp. Not condensation. Actual frost, in a ring three feet across, and it hadn't thawed in a chamber that stank of trapped summer. She held her palm above it. Her skin prickled. Her wedding ring, worn on a chain now, went cold enough to sting through her shirt. "Sandhu. What time did the call come in?" "Nine-forty. Track inspector, doing a survey of the shaft." "Check your phone." Paper rustled, then a small confused silence. "It's dead. Full charge when I came down." Quinn turned her left wrist over. The leather watch strap had been her father's; the watch itself she'd bought after the funeral because he'd have hated seeing an empty strap. The second hand sat rigid between the four and the five. Three minutes past four. She'd wound it at seven that morning. "Mine too," she said. "That's twice now." "Twice?" "Different case." She let it drop and went back to the body, kneeling this time, both knees in the dust, which meant the trousers were finished anyway. "His wrists." Two bands of bruising, purple going yellow, and above them, on the forearm, four crescents where fingernails had pressed. Someone had held him, and someone else had cut him, and neither of them had left a footprint. But that wasn't the interesting part. She lifted his right hand. The fingers had gone stiff around something, and she had to work them open with her thumb, one at a time, feeling the small resistances give. A compass. Brass, palm-sized, the casing gone green with verdigris in the seams. Sigils cut into the face, fine as engraving on a wedding ring, none of them letters she could name. Where north should have sat, someone had scratched a small blank space and left it deliberately empty. "Compass," Sandhu said, relieved. "Explorer. Told you." "His pockets," Quinn said. "Left coat pocket. Go on." Sandhu reached in and came out with three flat discs the colour of weak tea. He turned one in the light. Not plastic. Not ivory. Porous at the broken edge, and drilled through. "That's bone," he said, and put it back down very carefully, the way a man does when his hands have got ahead of his brain. "Currency," Quinn said. "Or a ticket." "For what?" She stood, and that was when she noticed the compass in her hand. The needle had swung while she walked. It hadn't wandered, hadn't dithered the way a cheap compass does. It had turned as she turned, holding a single line, patient as a dog watching a door. She took four steps left. The needle followed. She walked to the bench and back and it followed, pinned, unwavering, pointing away from the ladder, away from the frost ring, away from north, into the tunnel mouth where the arc light gave up and the dark started. "Guv." Sandhu's voice had gone thin. "Guv, look at the floor." Ahead of them, in the flour-fine dust between the last stall rectangle and the platform edge, a footprint pressed itself into being. Then another beside it. Bare. Long-heeled. Three toes. Coming towards them. And in the tunnel, something drew breath, and the smell of burnt sugar rolled out over the platform like a tide.
created_at"2026-07-25T13:36:02.056Z" 7/25/2026, 1:36:02 PM
model"anthropic/claude-opus-5-20260723"
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generation_time71925
tokens_prompt4492
tokens_completion2185
native_tokens_prompt6538
native_tokens_completion3856
native_tokens_completion_images(null)
native_tokens_reasoning285
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
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latency3123
model_permaslug"anthropic/claude-opus-5-20260723"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags19
adverbTagCount0
adverbTags(empty)
dialogueSentences50
tagDensity0.38
leniency0.76
rawRatio0
effectiveRatio0
88.61% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1317
totalAiIsmAdverbs3
found
0
adverb"deliberately"
count1
1
adverb"very"
count1
2
adverb"carefully"
count1
highlights
0"deliberately"
1"very"
2"carefully"
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)
84.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1317
totalAiIsms4
found
0
word"traced"
count1
1
word"churn"
count1
2
word"silence"
count1
3
word"unwavering"
count1
highlights
0"traced"
1"churn"
2"silence"
3"unwavering"
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
narrationSentences97
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences97
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences127
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords4
totalWords1317
ratio0.003
matches
0"sweet, cooked, not food."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount1002
uniqueNames10
maxNameDensity0.9
worstName"Sandhu"
maxWindowNameDensity2.5
worstWindowName"Sandhu"
discoveredNames
Quinn8
Camden1
High1
Street2
Underground1
Sandhu9
Morris1
Two2
Ahead1
Three3
persons
0"Quinn"
1"Sandhu"
2"Morris"
places
0"Camden"
1"High"
2"Street"
3"Underground"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences56
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1317
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences127
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs61
mean21.59
std17.16
cv0.795
sampleLengths
025
116
29
361
430
517
653
73
85
941
103
119
1238
134
1436
151
163
1710
1862
197
205
2116
2243
2313
2431
2528
2640
2716
285
2947
309
3148
321
3322
3446
3525
368
379
383
3915
4041
4111
427
431
4429
4548
4626
4749
487
499
94.41% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences97
matches
0"been unscrewed"
1"was covered"
2"were finished"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs167
matches
0"was looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences127
ratio0.008
matches
0"The leather watch strap had been her father's; the watch itself she'd bought after the funeral because he'd have hated seeing an empty strap."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1006
adjectiveStacks0
stackExamples(empty)
adverbCount17
adverbRatio0.016898608349900597
lyAdverbCount3
lyAdverbRatio0.002982107355864811
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences127
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences127
mean10.37
std9.57
cv0.922
sampleLengths
025
111
25
33
46
524
615
712
810
930
1016
111
1223
1330
143
155
162
1719
182
194
2014
213
229
2312
2417
252
267
274
2811
2922
303
311
323
335
345
3518
3644
377
385
392
4014
411
423
432
4437
456
467
4726
485
492
88.71% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.5748031496062992
totalSentences127
uniqueOpeners73
44.44% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences75
matches
0"Then another beside it."
ratio0.013
97.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences75
matches
0"She didn't answer."
1"She was looking at the"
2"It looked less like a"
3"She leaned in, breathed"
4"Her hands went still."
5"She'd written it in the"
6"She stood and swept the"
7"They crowded the platform from"
8"She stopped and tapped the"
9"She wasn't ready to say"
10"She held her palm above"
11"Her skin prickled."
12"Her wedding ring, worn on"
13"She'd wound it at seven"
14"She let it drop and"
15"She lifted his right hand."
16"He turned one in the"
17"he said, and put it"
18"She stood, and that was"
19"It hadn't wandered, hadn't dithered"
ratio0.307
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount52
totalSentences75
matches
0"The ladder ended forty feet"
1"someone called after her"
2"She didn't answer."
3"She was looking at the"
4"Cranholt Street station had shut"
5"A woman in a cloche"
6"Somebody had scratched out her"
7"The body lay eight feet"
8"Quinn peeled off one glove"
9"Sandhu had his notebook out"
10"The wound sat under the"
11"It looked less like a"
12"She leaned in, breathed"
13"Toffee left too long in"
14"Her hands went still."
15"She'd written it in the"
16"Nobody ever did."
17"Sandhu pointed with his pen."
18"Quinn traced the air above"
19"She stood and swept the"
ratio0.693
66.67% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences75
matches
0"To his credit, he crouched"
ratio0.013
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount2
matches
0"Two arc lamps stood at either end, borrowed from the Underground's engineering crew, throwing light that turned the tiles the colour of old teeth."
1"Not a smear of the pale grey dust that lay over the platform like flour over a kitchen floor, the dust that had already turned Quinn's trousers the colour of a …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount0
fancyTags(empty)
dialogueSentences50
tagDensity0.2
leniency0.4
rawRatio0
effectiveRatio0
94.9442%