Run: 2026-07-25-01KYCRFVXBCV5TB6GN8W98V0G5

Run Details

Duration:
59.8s
Cost:
$0.107285
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
Quinn had him at forty metres and closing, and then the boy in the doorway shouted "Runner!" and the gap became sixty. She didn't waste breath swearing. Eighteen years had taught her that shouting cost you a stride, and strides were all she had left. Herrera ran like someone who'd been trained to carry a stretcher up four flights, elbows tight, head level, feet finding the dry patches on instinct. Not a criminal's run. A working man's run. That bothered her more than the fleeing did. Camden High Street threw itself at her in fragments. A shuttered kebab shop bleeding fat-smell into the wet. The dragon over the old boot shop, gilt scales dripping. Two girls in fishnets and glitter shrieked and pressed themselves to the window of a vape place as Herrera cut between them, and one of them laughed and shouted something obscene at Quinn's warrant card. "Police! Stop where you are!" He didn't. Of course he didn't. They never did, but she said it anyway, because the tape recorder in her head never stopped running and one day some barrister in a wig would ask whether she'd identified herself. Rain came sideways off the canal. Her shoes were wrong, they always were, she'd been standing in a mortuary corridor at eight that evening and hadn't planned on sprinting through Camden at half eleven. The pavement had that black shine that hid every crack. She kept to the centre of the road, dodging a stationary bus, using the camber. Herrera glanced back. First mistake. He was twenty-nine according to the file, olive-skinned, curly hair flattened to his skull by rain, and when he turned his head she saw the whites of his eyes and something she recognised. Not guilt. Calculation. He was working out how much of a head start he needed for something. "Tomás!" His name hit him harder than the warning had. He stumbled off the kerb, caught himself on a bollard, and something small and pale spilled out of his jacket pocket and skittered into the gutter. Quinn ran over it, checked, went back three steps and scooped it up without stopping properly. Bone. A flat disc of yellowed bone, the size of a poker chip, warm despite the rain, with something scratched into one face that her thumb read as a burn rather than a shape. Warm. She put it in her coat pocket and ran on, and the warmth sat against her hip like a coal. He went left at the lock. Down the steps by the market gates, three at a time, past the closed stalls with their tarpaulins strapped like body bags, and she followed with her hand skimming the wet iron rail. The canal below her looked like poured tar. A moorhen exploded out of the reeds and she felt her heart bang once, hard, in her throat. Three years ago Morris had gone down a set of steps like these. She'd been eleven metres behind him. Eleven. She'd counted them afterwards, from the CCTV, frame by frame, in a room that smelled of other people's coffee. He'd gone round the corner and she'd gone round the corner four seconds later and there had been nothing there but his radio, still keyed open, hissing. Her legs kept moving. Good legs. They didn't ask questions. Herrera cut right, off the towpath, up a ramp between two brick walls into a service yard she'd have sworn was a dead end. Skips. A wall of dead phone boxes stacked like coffins. A hoarding with a planning notice bleached to nothing, and behind the hoarding, a set of green wooden doors with STRICTLY NO ADMITTANCE and LONDON TRANSPORT stencilled on them in paint older than she was. The doors were shut. He hit them anyway, palm flat, and they swung. Quinn arrived eight seconds later and stopped. The doorway breathed on her. That was the only word for it. A slow exhalation of air out of the dark, and the air was warm, and it carried a smell that had no business under Camden: cinnamon and hot iron and wet fur and something underneath all of it that was frankly sweet, like fruit going over in a bowl. Down. A staircase going down, tiled in cream and oxblood, the tiles cracked but wiped clean. Lit. Not with bulbs. With small green flames in glass cups fixed along the wall at hip height, one every three steps, all leaning the same way as if a draught went down there and never came back. Somewhere below, quite distinctly, a woman laughed and a bell rang twice. Quinn stood in the rain and did the arithmetic she'd been trained to do. No radio. Phone with one bar and a cracked screen. No stab vest, no baton, no back-up, no address she could give a control room if she'd had one, because the address didn't exist. She'd looked. She'd spent two months looking for places exactly like this and every time she got close the paperwork dissolved: freeholds owned by companies dissolved in 1974, station closed 1924, sealed 1961, filled 1992. Force policy was clear. You did not pursue into an unsecured underground space, alone, at night, with no comms. The bone token in her pocket pulsed. Twice. Like a second wrist. "Right," she said, to nobody. Her voice came out steady, which pleased her. She took off her watch. It was an old thing, leather strap gone the colour of tea, and she'd worn it every day since Morris's widow had pushed it into her hands at the wake and said keep it, he'd have wanted, and then couldn't finish. Quinn wrapped it round her right fist, buckle out, and pulled the strap tight. Not a weapon. Not really. But her father had been a Sergeant Major and he'd taught her that a man will flinch from anything that shines. At the third step down, the rain stopped touching her. She turned. The doorway was still there, still open, still Camden, but the weather had drawn a line across the threshold and stayed on its own side. Water beaded on the outside air like it had hit glass. She put her hand back through it and felt the cold come at her wrist, then withdrew it, and the water on her sleeve ran upward and off. Below her, the staircase turned. On the tiled wall of the turn, in letters two feet high, someone had picked out a name in mosaic. Half of it had been chiselled away with real violence, the tesserae smashed to grit. The half that remained read AVER. Under it, in chalk, in a neat modern hand: TOKENS OUT. NO IRON PAST THE BARRIER. NO POLICE. Quinn read it twice. Then she took the bone disc out of her pocket, held it up between finger and thumb, and started down. The stairs went further than they should have. Forty-one steps by her count, which put her below the Northern Line, below the sewers, below anything on any drawing she'd ever pulled from the archive. The green flames bent as she passed them. The smell got stronger, and now she could pick out threads of it, saffron, tobacco, blood, and something like the inside of a violin case. The noise arrived all at once, the way noise does when you come out of a tunnel. The platform had been gutted and rebuilt into a street. Stalls ran the length of it, both sides, roofed with old advertising hoardings and stitched hide, and the track bed had been floored over with railway sleepers and Turkish rugs. Lanterns hung on wires. A butcher's stall displayed things that had been legs, once, of animals that hadn't been. A woman in a Barbour jacket haggled over a jar of what looked like teeth. A boy no older than fourteen sat on a crate with a ledger, taking bone tokens on a spike, and every token had a little green flame that went out as it went on the spike. Two hundred people. Maybe more. All of them warm, all of them talking, none of them the sort of crowd she could vanish into in a suit and a wet police coat. She saw Herrera at once, halfway down the market, both hands on a stall-holder's shoulders, talking fast, and she saw the Saint Christopher medallion swing loose from his collar as he turned. She saw him point at her. The boy with the ledger looked up. The chatter didn't stop, exactly. It changed key, ran down the length of the platform like a fuse, and about forty faces turned towards the mouth of the stairs, and every single one of them dropped straight to the watch strapped round her fist. "Iron," someone said, quite pleasantly. Then the lanterns went out.
created_at"2026-07-25T13:47:30.626Z" 7/25/2026, 1:47:30 PM
model"anthropic/claude-opus-5-20260723"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5096
moderation_latency(null)
generation_time59629
tokens_prompt4484
tokens_completion2238
native_tokens_prompt6517
native_tokens_completion2988
native_tokens_completion_images(null)
native_tokens_reasoning183
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"end_turn"
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endpoint_id"76cb4608-f48c-483d-8da8-9957fb44244e"
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is_byokfalse
latency2065
model_permaslug"anthropic/claude-opus-5-20260723"
provider_name"Amazon Bedrock"
status200
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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)
dialogueSentences5
tagDensity0.6
leniency1
rawRatio0
effectiveRatio0
96.60% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1472
totalAiIsmAdverbs1
found
0
adverb"really"
count1
highlights
0"really"
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)
89.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1472
totalAiIsms3
found
0
word"warmth"
count1
1
word"pulsed"
count1
2
word"mosaic"
count1
highlights
0"warmth"
1"pulsed"
2"mosaic"
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
narrationSentences114
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences114
filterMatches
0"notice"
1"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences116
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1472
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1463
uniqueNames14
maxNameDensity0.48
worstName"Quinn"
maxWindowNameDensity1
worstWindowName"Herrera"
discoveredNames
High1
Street1
Herrera5
Quinn7
Camden4
Morris2
Sergeant1
Major1
Northern1
Line1
Turkish1
Barbour1
Saint1
Christopher1
persons
0"Herrera"
1"Quinn"
2"Morris"
3"Sergeant"
4"Major"
5"Saint"
6"Christopher"
places
0"High"
1"Street"
2"Camden"
3"Barbour"
globalScore1
windowScore1
45.83% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount3
matches
0"looked like poured tar"
1"something like the inside of a violin case"
2"looked like teeth"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1472
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences116
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs43
mean34.23
std27.82
cv0.813
sampleLengths
022
164
263
35
438
559
65
750
81
935
1050
111
1220
1365
1466
1510
1669
1713
187
1961
2054
2112
2283
2319
2412
2513
265
2781
2810
2966
3046
319
329
3324
3467
3517
36110
3732
3832
396
4051
415
425
86.80% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences114
matches
0"been trained"
1"been eleven"
2"been trained"
3"been chiselled"
4"been gutted"
5"been floored"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs238
matches
0"was working"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences116
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1469
adjectiveStacks0
stackExamples(empty)
adverbCount54
adverbRatio0.03675970047651463
lyAdverbCount10
lyAdverbRatio0.0068073519400953025
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences116
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences116
mean12.69
std11.27
cv0.888
sampleLengths
022
15
218
325
44
54
68
79
89
910
1035
115
122
134
1432
156
1628
1710
1815
193
202
2133
222
231
2414
251
269
2726
2816
291
3033
311
3220
336
3433
358
3618
3713
386
391
4019
4127
424
432
444
4524
461
479
4835
494
66.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.45689655172413796
totalSentences116
uniqueOpeners53
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences95
matches
0"Of course he didn't."
1"Somewhere below, quite distinctly, a"
2"Then she took the bone"
3"Then the lanterns went out."
ratio0.042
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences95
matches
0"She didn't waste breath swearing."
1"They never did, but she"
2"Her shoes were wrong, they"
3"She kept to the centre"
4"He was twenty-nine according to"
5"He was working out how"
6"His name hit him harder"
7"He stumbled off the kerb,"
8"She put it in her"
9"He went left at the"
10"She'd been eleven metres behind"
11"She'd counted them afterwards, from"
12"He'd gone round the corner"
13"Her legs kept moving."
14"They didn't ask questions."
15"He hit them anyway, palm"
16"She'd spent two months looking"
17"You did not pursue into"
18"she said, to nobody"
19"Her voice came out steady,"
ratio0.274
86.32% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount71
totalSentences95
matches
0"Quinn had him at forty"
1"She didn't waste breath swearing."
2"Herrera ran like someone who'd"
3"A working man's run."
4"That bothered her more than"
5"Camden High Street threw itself"
6"A shuttered kebab shop bleeding"
7"The dragon over the old"
8"They never did, but she"
9"Rain came sideways off the"
10"Her shoes were wrong, they"
11"The pavement had that black"
12"She kept to the centre"
13"Herrera glanced back."
14"He was twenty-nine according to"
15"He was working out how"
16"His name hit him harder"
17"He stumbled off the kerb,"
18"Quinn ran over it, checked,"
19"A flat disc of yellowed"
ratio0.747
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences95
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount3
matches
0"Herrera ran like someone who'd been trained to carry a stretcher up four flights, elbows tight, head level, feet finding the dry patches on instinct."
1"A slow exhalation of air out of the dark, and the air was warm, and it carried a smell that had no business under Camden: cinnamon and hot iron and wet fur and …"
2"Forty-one steps by her count, which put her below the Northern Line, below the sewers, below anything on any drawing she'd ever pulled from the archive."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences5
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
92.4008%