Run: 2026-07-25-01KYCQYZ4KN268CE7DN8QNWKHY

Run Details

Duration:
1m 56s
Cost:
$0.111810
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Herrera went out the fire door of the Raven's Nest with his medical bag swinging, and Quinn was six seconds behind him. Six seconds. She'd counted them the way she counted everything, because counting kept the panic where it belonged, filed under later. The green neon of the bar's sign smeared across wet brick as she came through the door sideways, shoulder first, and her boots found a puddle of dishwater and something worse. "Herrera! Police!" He didn't stop. Nobody ever stopped. Eighteen years and she could count on one hand the ones who'd stood there politely with their hands raised, and three of those had been drunk. She ran. Soho spat them out onto Charing Cross Road, Friday-night crowds thick as porridge, umbrellas going up and down like a bad orchestra. Rain hammered the pavement into a hiss. Herrera moved well for a man carrying a bag, weaving between a hen party and a bus queue, one hand pressed flat to his chest, and she knew from the file what he kept under his shirt. Saint Christopher. Patron saint of travellers. Run all you like, she thought. Christopher doesn't cover this. He glanced back at Cambridge Circus. Just once. Warm brown eyes, wide as a horse's in a house fire, and there was blood on his forearm, sheeting over the old knife scar, thin and pink where the rain had got at it. Not his blood. She'd bet her pension. "Tomás!" She used the first name because names slow people down. "Whoever they are, they need a hospital, not you!" "No." He shouted it over his shoulder, breathless, half laughing. "No, they very much do not." Then he cut left, and she lost eleven seconds to a taxi that decided it owned the crossing. Northern line, she thought. He's going for the Northern line. He didn't. He went for the buses, then a service alley behind a Korean restaurant, then a flight of steps she hadn't known existed in twenty years of walking this city. The alley stank of frying oil and old rain. Bin bags shone black under a security light. She took the steps three at a time, felt the old ache in her right knee register a complaint, and filed that under later as well. Radio in her hand. Thumb on the button. She didn't press it. Later, she'd wonder about that, and she'd lie to herself about the reason. The truth sat there anyway, patient. Three years ago she'd called it in. Three years ago she'd done everything by the book, all the correct words in all the correct order, and the book had given her back a coroner's report that said DS Alan Morris had died of exsanguination from wounds consistent with an animal attack, in a corridor in Bermondsey with no animals in it, and no blood on the floor. None. Not a drop. Nine pints of a man gone, and the lino wiped clean. So she didn't press the button. She kept running. North. Always north. Camden by the time her lungs started charging interest, the canal on her left throwing back streetlight in broken yellow ribbons, the lock gates dripping. The market stalls were shut, plastic sheeting lashed down over knock-off leather. A man asleep in a doorway under a duvet that had once been white. Somewhere a saxophone, badly played. Herrera turned into Kentish Town Road, then into a gap between a shuttered kebab shop and a bookmaker's, and vanished. Quinn stopped. Breathed. Made herself look. Hoarding. Blue, ten feet high, plastered with fly posters for club nights that had happened last year. A padlock hung open on a hasp. Behind it, a stair going down into the dark, tiled in that particular ox-blood red the Underground used before the war, and a gust of air came up out of it that had no business smelling the way it did. Warm. Sweet. Like burnt sugar and wet pennies. She'd walked past this hoarding a hundred times. Camden Town station was four hundred yards that way. This was nothing. A hole. A gap in the paperwork of the city. Her torch found the steps. Twelve down, then a turn. At the turn, a bone lay on the tile. She crouched. Not a bone, quite. A token, palm-sized, ivory-yellow, drilled through at one end and carved with a spiral that made her eyes water if she looked at the centre of it. Warm. Warmer than her hand. Careless of him, she thought, and then, immediately: no. Not careless. He'd checked his chest twice while he ran. He'd looked back at Cambridge Circus. An invitation, then. Or a hook, baited. Quinn had eighteen years of decorated service, a sharp jaw, a worn leather watch on her left wrist that she wound every night at ten because Morris had once mocked her for it, and absolutely no jurisdiction down that staircase. She knew it the way you know a room is about to go off. Everything below this turning belonged to somebody else, and whatever rules applied there had never passed through Parliament. She thought about the blood on Herrera's arm. She thought about a clean floor in Bermondsey. Then she stood, put the token in her coat pocket, and went down. The stairs ran longer than they should. Forty-one steps, then a passage where the tiles gave out and became bare brick, and then the brick gave out and became something that had been sprayed on decades ago and was now furred with pale growth. Her torch beam started behaving oddly, going soft at the edges, as if the dark were thicker than dark. Sound arrived before light. Voices, dozens, in a low churning babble, and under it a drone she felt in her teeth. The passage opened. She had expected a tunnel. She got a cathedral of a place, an old station platform stripped of its trains and packed to the vaulted ceiling with stalls, awnings, ropes of hanging lanterns that burned green and gold with nothing in them she could name. Two levels, iron stairs bolted crooked between them. The rails were gone; the track bed had become an aisle, and the aisle was full. Full of people. Mostly. A woman in a butcher's apron sold hands. Human hands, or good copies, laid on ice in rows, each one wearing a paper label. A boy with skin like birch bark poured something from a jug into a customer's cupped palms, and the customer drank from their hands and wept. Three figures in identical grey suits stood absolutely motionless around a case of eyeglasses. Somebody was hawking bottled sleep at eight hours for forty pounds, no refunds, no dreams guaranteed. Copper stung her nostrils. Blood, recent, and burnt sugar over the top of it like icing on a bad cake. Quinn kept her hands out of her pockets and walked in. Nobody looked at her. That was the wrong thing, and she clocked it at once. Walk into any pub, any estate stairwell, any market in this city with a warrant card in your coat and heads turn. Here, heads did not turn. Here, heads stayed carefully, deliberately, unanimously pointed at their own business. Which meant they'd already decided what she was. She found Herrera's medical bag on a table forty feet in, abandoned between a tray of teeth and a stack of small cages. She found the rest a second later. On the same table, on a square of black velvet, next to a price tag written in a neat copperplate hand: a warrant card in a leather wallet, worn soft at the fold. Metropolitan Police. The photograph showed a heavy-jawed man who'd never once been photographed well, and the name printed beside it was MORRIS, ALAN J., DETECTIVE SERGEANT. The lanterns went out. All of them. Together. And in the black, close enough that the breath moved the hair at her ear, something with far too many consonants said, "Detective Quinn. You're late. He's been waiting three years."
created_at"2026-07-25T13:39:12.094Z" 7/25/2026, 1:39:12 PM
model"anthropic/claude-opus-5-20260723"
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cancelledfalse
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generation_time60295
tokens_prompt4484
tokens_completion2032
native_tokens_prompt6517
native_tokens_completion3169
native_tokens_completion_images(null)
native_tokens_reasoning127
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
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web_search_engine(null)
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is_byokfalse
finish_reason"stop"
native_finish_reason"end_turn"
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is_byokfalse
latency1527
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences6
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
88.79% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1338
totalAiIsmAdverbs3
found
0
adverb"very"
count1
1
adverb"carefully"
count1
2
adverb"deliberately"
count1
highlights
0"very"
1"carefully"
2"deliberately"
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)
85.05% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1338
totalAiIsms4
found
0
word"absolutely"
count2
1
word"churning"
count1
2
word"velvet"
count1
highlights
0"absolutely"
1"churning"
2"velvet"
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
narrationSentences119
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount0
narrationSentences119
filterMatches
0"look"
1"watch"
2"know"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences122
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen60
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1338
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1310
uniqueNames23
maxNameDensity0.38
worstName"Herrera"
maxWindowNameDensity1
worstWindowName"Quinn"
discoveredNames
Raven1
Nest1
Quinn4
Charing1
Cross1
Road2
Friday-night1
Christopher2
Cambridge2
Circus2
Northern2
Korean1
Alan1
Morris2
Bermondsey2
Kentish1
Town2
Underground1
Parliament1
Herrera5
Police1
Warm3
Three3
persons
0"Raven"
1"Quinn"
2"Christopher"
3"Alan"
4"Morris"
5"Underground"
6"Herrera"
places
0"Charing"
1"Cross"
2"Road"
3"Friday-night"
4"Cambridge"
5"Bermondsey"
6"Kentish"
7"Town"
8"Parliament"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1338
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences122
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs48
mean27.88
std25.09
cv0.9
sampleLengths
022
152
22
332
42
572
610
742
87
920
1016
1118
1210
1374
148
154
1686
1715
189
1959
2020
216
2272
2330
2410
259
2638
2725
287
2972
308
318
3213
3363
3421
353
3669
374
3880
3920
4011
4153
428
4323
447
4559
468
4731
96.42% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences119
matches
0"been sprayed"
1"were gone"
2"been photographed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs203
matches
0"was hawking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences122
ratio0.008
matches
0"The rails were gone; the track bed had become an aisle, and the aisle was full."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1317
adjectiveStacks0
stackExamples(empty)
adverbCount41
adverbRatio0.031131359149582385
lyAdverbCount11
lyAdverbRatio0.008352315869400152
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences122
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences122
mean10.97
std10.92
cv0.996
sampleLengths
022
12
219
331
42
53
63
726
82
922
107
1137
122
134
146
154
166
172
1834
193
204
2111
229
2310
246
2518
264
276
282
2929
309
318
3226
334
344
354
3613
376
387
3960
401
413
4211
436
443
451
462
4725
4812
4914
86.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.5737704918032787
totalSentences122
uniqueOpeners70
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences99
matches
0"Then he cut left, and"
1"Somewhere a saxophone, badly played."
2"Then she stood, put the"
ratio0.03
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences99
matches
0"She'd counted them the way"
1"He didn't stop."
2"He glanced back at Cambridge"
3"She'd bet her pension."
4"She used the first name"
5"He shouted it over his"
6"He's going for the Northern"
7"He went for the buses,"
8"She took the steps three"
9"She didn't press it."
10"She kept running."
11"She'd walked past this hoarding"
12"Her torch found the steps."
13"He'd checked his chest twice"
14"He'd looked back at Cambridge"
15"She knew it the way"
16"She thought about the blood"
17"She thought about a clean"
18"Her torch beam started behaving"
19"She had expected a tunnel."
ratio0.232
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount64
totalSentences99
matches
0"Herrera went out the fire"
1"She'd counted them the way"
2"The green neon of the"
3"He didn't stop."
4"Nobody ever stopped."
5"Soho spat them out onto"
6"Herrera moved well for a"
7"Patron saint of travellers."
8"Christopher doesn't cover this."
9"He glanced back at Cambridge"
10"She'd bet her pension."
11"She used the first name"
12"He shouted it over his"
13"He's going for the Northern"
14"He went for the buses,"
15"The alley stank of frying"
16"Bin bags shone black under"
17"She took the steps three"
18"Radio in her hand."
19"Thumb on the button."
ratio0.646
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences99
matches(empty)
ratio0
38.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount6
matches
0"Three years ago she'd done everything by the book, all the correct words in all the correct order, and the book had given her back a coroner's report that said …"
1"Behind it, a stair going down into the dark, tiled in that particular ox-blood red the Underground used before the war, and a gust of air came up out of it that…"
2"A token, palm-sized, ivory-yellow, drilled through at one end and carved with a spiral that made her eyes water if she looked at the centre of it."
3"Forty-one steps, then a passage where the tiles gave out and became bare brick, and then the brick gave out and became something that had been sprayed on decade…"
4"Her torch beam started behaving oddly, going soft at the edges, as if the dark were thicker than dark."
5"The photograph showed a heavy-jawed man who'd never once been photographed well, and the name printed beside it was MORRIS, ALAN J., DETECTIVE SERGEANT."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"He shouted (shout)"
dialogueSentences6
tagDensity0.167
leniency0.333
rawRatio1
effectiveRatio0.333
89.8400%