Run: 2026-07-25-01KYCXKSAEN81CV67M76HNEWK1

Run Details

Duration:
16.5s
Cost:
$0.022683
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
"Get that light out of my face." Detective Harlow Quinn brushed past the uniformed officer at the iron gates, her heavy coat snapping in the damp draft blowing up from the throat of the disused station. Beneath Camden High Street lay decades of forgotten iron and chalk, but tonight, the cold air carried a sharp, copper stench that had nothing to do with rust. Blood. Fresh, and lots of it. Harlow paused on the tiled mezzanine of the abandoned Tube stop, her leather-booted heel crunching on broken white porcelain tiles. "Down here, Detective!" DS Miller's voice echoed up the empty escalator shaft, hollow and tinny. Harlow checked her worn leather watch. Three in the morning. Her sharp jaw set as she descended the rusted metal stairs, her salt-and-pepper hair cut close enough to feel every drop of condensation dripping from the ceiling. At the bottom of the shaft, where the ancient Northern line platform should have opened into darkness, a makeshift bazaar lay wrecked. Collapsed wooden stalls, shattered glass apothecary jars, and scattered silks choked the platform. The scent of ozone and spilled lavender fought against the thick iron reek of open veins. "What in God's name was this?" Harlow murmured, stepping over a crushed brass lantern. "An illegal market?" "Underground ravers, most likely," Miller said, shining his torch over a shattered display case. He was a thick-set man who smelled of cheap aftershave and greasy chips. "Squatters set up tables, sell bad pills, get loaded. Fight broke out." "Pills don't bleed," Harlow said, her brown eyes scanning the wreckage. She knelt beside a puddle of crimson spreading near a collapsed stall. The blood pooled around an intricate geometric symbol painted on the concrete in silver ink. Not paint. The liquid still shivered, reacting to static in the air. "Two victims," Miller said, tapping a pocket notebook with his pen. "Uniform found them twenty minutes ago. Both male, stabbed repeatedly. Gang territory dispute. The Camden boys have been pushing south." "Gang boys don't carry bone tokens." Harlow picked up a notched piece of polished ox rib from the bloodied tiles using the tip of her pen. A precise glyph was carved into its center. "And they don't buy verdigris-coated brass." "It's junk, Quinn. Homeless clutter." Harlow stood up slowly, her military precision breaking through the haze of exhaustion. She walked toward the center of the platform. "Look at the dust patterns, Miller. There were twenty stalls here an hour ago. People fled. They didn't run toward the street entrance, either. They ran further down the tunnel." She pointed toward the pitch-black mouth of the northern track. Deep, parallel grooves scarred the rusty iron rails, as if something heavy had been dragged away in a hurry, or something massive had pushed its way through. "Mass panic," Miller countered, though his torch beam wavered slightly as he aimed it into the tunnel. "Someone pulled a knife, the crowd bolted. Standard." "Standard?" Harlow swung her torch light up toward the arched brick ceiling. Dozens of strange, delicate brass compasses hung from the iron pipes by thin copper wire. Their needles were spinning wildly, whirring in rhythmic, maddening circles, ignoring magnetic north entirely. "Draft's catching them," Miller said quickly. "There is no draft down here, Miller. The ventilation shafts were capped in 1995." Harlow stepped closer to a shattered stall selling leather-bound books. The spines were written in scripts she had seen only once before, three years ago, in the ruined flat where DS Morris had died. Her skin went cold, a prickle of familiar dread crawling up her spine. Morris had been chasing whispers of something called the Veil Market before his heart simply stopped, leaving no marks, no poison, only a look of absolute terror frozen on his face. She reached into a pile of torn velvet and pulled out a small brass compass, identical to those hanging from the ceiling. Its casing bore a heavy patina of verdigris, the face etched with protective sigils. The needle trembled, then pointed directly at her chest before swinging violently toward the dark tunnel. "This wasn't a gang fight," Harlow said, her voice dropping an octave. "It was a raid." "A raid by who? The Met didn't clear this." "Not our people." Harlow stooped down beside the silver symbol on the floor. "Look at the entry points. The blood spray hits the wall at a forty-five-degree angle, five feet up. Whoever opened these people up was standing above them. High above them." "They were standing on the display tables," Miller insisted, crossing his arms. "You're overcomplicating a street homicide, Quinn. You always do this. Ever since Morris-" "Leave Morris out of your mouth," she snapped, stepping into his space. Her 5'9" frame towered over him in the dim light. "Look at the floor. Where are the footmarks?" Miller blinked, lowering his torch to the dusty ground. "Two hundred people running for their lives," Harlow said softly. "Yet there are no boot prints leading out. Just smooth trails in the dust, like dry leaves swept by a broom. And these." She pointed her torch beam at a smudge near the tunnel entry. A handprint. But the fingers were far too long, the palm narrow and warped, ending in sharp, dragged indentations that cut deep into the solid mortar. "That's... that's a glove," Miller stammered, taking a small step back. "Some weird cosplay nonsense." "Right. Cosplay." Harlow picked up her notebook, her fingers tightening around the leather cover. "Call the yard. Tell them we need the specialist forensic unit." "They won't come down here for a squatter row." "Tell them it's connected to the Morris file." Miller went pale, his jaw working silently before he pulled out his radio. Harlow turned away from him, walking toward the shadows edge where the platform met the dark tunnel. She pressed her hand against the curved brickwork. It vibrated softly, a low hum vibrating through her palm, like a subway train passing miles away, though no trains ran on these lines anymore. Footsteps echoed behind her. Soft, light, fast steps. Not a constable's heavy boots. Harlow's hand dropped instinctively to her hip, her fingers curling around the grip of her framed baton. She spun around, her torch beam sweeping the shadows near the disused ticket booth. A young woman stood trapped in the light. Curly red hair escaped from a silk scarf, frame-less round glasses reflecting the white beam. She wore a thick wool coat and clutched a worn leather satchel full of books against her ribs like a shield. "Don't shoot," the woman whispered, her freckled complexion stark white in the harsh glare. She nervously tucked a curl behind her left ear. "Police!" Harlow called out, advancing two sharp steps. "Stay where you are. Put the bag down." "If I put it down, the bindings will break," the girl said, her voice trembling but surprisingly precise. Oxford English, educated, sharp. "And trust me, Inspector, you do not want what's in this satchel spilling onto cold iron." "Detective Quinn," Harlow corrected, keeping her torch pinned on the girl's face. "Who are you? How did you get past the cordon?" "The police cordon is at the street grille," the girl said, taking a small, cautious step backward toward the dark stairs. "They don't know about the sewer bypass under the butcher's shop." "Name." "Eva," she said softly. "Eva Kowalski." Harlow recognized the type instantly. Academics who poked their noses into dark places they read about in translation texts. "What were you doing down here, Miss Kowalski?" "Buying ink," Eva said. Her green eyes flicked past Harlow toward the whirring compasses on the ceiling. "Before the Shade artisans panicked." "Shade artisans." Harlow took another step forward, her shadow stretching long over the bloodied tiles. "You're talking about the market. You know what this place is." "Everyone in the Under-London knows what the Veil Market is," Eva said, her fingers clutching her satchel tighter. "It moves every full moon. It wasn't supposed to be here until Thursday, but the alignment shifted." "Someone attacked this place," Harlow said, watching the girl's body language. Eva wasn't aggressive; she was terrified, but not of the police. She kept looking at the dark tunnel behind Harlow. "Who?" "Not who," Eva whispered, her round glasses catching the spinning light of the compasses. "What." "I don't play fairy-tale games, Miss Kowalski. Two men are dead." "Two humans are dead," Eva corrected, her voice dropping to a harsh whisper. "The rest of the vendors aren't human, Detective. And whatever came out of that tunnel didn't come to rob them. It came to hunt." A sharp metallic screech echoed from deep inside the dark railway tube, long and agonizing, like steel being peeled from steel. The brass compasses hanging overhead stopped spinning instantly. Every single needle snapped south, pointing directly at the dark opening behind Harlow. "Detective," Miller yelled from the other side of the platform, his radio crackling with static. "We've got a problem. The radio's dead." Harlow didn't look at him. She kept her eyes on Eva, who had gone completely still. "Run," Eva whispered. From the black gullet of the train tunnel, something heavy shifted in the dark, scraping against the rusted rails as it breathed.
created_at"2026-07-25T15:17:01.923Z" 7/25/2026, 3:17:01 PM
model"google/gemini-3.6-flash-20260721"
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tokens_completion2385
native_tokens_prompt4537
native_tokens_completion2117
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native_tokens_reasoning0
native_tokens_cached0
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags33
adverbTagCount3
adverbTags
0"Miller said quickly [quickly]"
1"Harlow said softly [softly]"
2"she said softly [softly]"
dialogueSentences61
tagDensity0.541
leniency1
rawRatio0.091
effectiveRatio0.091
73.99% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1538
totalAiIsmAdverbs8
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
2
adverb"quickly"
count1
3
adverb"softly"
count3
4
adverb"nervously"
count1
5
adverb"completely"
count1
highlights
0"slowly"
1"slightly"
2"quickly"
3"softly"
4"nervously"
5"completely"
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)
21.98% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1538
totalAiIsms24
found
0
word"porcelain"
count1
1
word"echoed"
count3
2
word"shattered"
count3
3
word"scanning"
count1
4
word"intricate"
count1
5
word"wavered"
count1
6
word"standard"
count2
7
word"rhythmic"
count1
8
word"magnetic"
count1
9
word"familiar"
count1
10
word"velvet"
count1
11
word"etched"
count1
12
word"trembled"
count1
13
word"vibrated"
count1
14
word"footsteps"
count1
15
word"silk"
count1
16
word"stark"
count1
17
word"flicked"
count1
18
word"whisper"
count1
highlights
0"porcelain"
1"echoed"
2"shattered"
3"scanning"
4"intricate"
5"wavered"
6"standard"
7"rhythmic"
8"magnetic"
9"familiar"
10"velvet"
11"etched"
12"trembled"
13"vibrated"
14"footsteps"
15"silk"
16"stark"
17"flicked"
18"whisper"
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
emotionTells1
narrationSentences85
matches
0"was terrified"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences85
filterMatches
0"watch"
1"know"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences104
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1538
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions23
unquotedAttributions0
matches(empty)
47.14% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions56
wordCount1118
uniqueNames19
maxNameDensity2.06
worstName"Harlow"
maxWindowNameDensity3.5
worstWindowName"Harlow"
discoveredNames
Harlow23
Quinn1
Camden1
High1
Street1
Tube1
Miller9
Northern1
Dozens1
Morris2
Veil1
Market1
Tell1
Put1
English1
You1
Eva7
Thursday1
Two1
persons
0"Harlow"
1"Quinn"
2"Miller"
3"Morris"
4"English"
5"You"
6"Eva"
places
0"Camden"
1"High"
2"Street"
globalScore0.471
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1538
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences104
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs60
mean25.63
std15.14
cv0.591
sampleLengths
07
129
254
33
449
551
617
739
811
939
1031
1140
125
1351
1437
1525
1612
1729
186
1924
2068
2152
2216
239
2443
2525
2630
279
2833
2938
3015
3125
329
338
3413
3550
3613
3731
3844
3923
4016
4138
4222
4332
441
456
4627
4722
4826
4935
84.62% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences85
matches
0"was carved"
1"been dragged"
2"were written"
3"was terrified"
4"being peeled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs193
matches
0"were spinning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences104
ratio0.01
matches
0"\"Someone attacked this place,\" Harlow said, watching the girl's body language. Eva wasn't aggressive; she was terrified, but not of the police. She kept looking at the dark tunnel behind Harlow. \"Who?\""
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount770
adjectiveStacks0
stackExamples(empty)
adverbCount18
adverbRatio0.023376623376623377
lyAdverbCount10
lyAdverbRatio0.012987012987012988
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences104
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences104
mean14.79
std9.84
cv0.665
sampleLengths
07
129
228
31
45
520
63
712
86
94
1027
1122
1213
1316
1414
153
1614
1713
1812
1911
2012
2115
222
2310
2411
2520
2626
278
286
295
3013
318
3230
3310
3427
3517
368
3712
3815
3914
406
4124
4224
4313
4431
4522
4614
4716
4812
494
98.08% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.6057692307692307
totalSentences104
uniqueOpeners63
42.19% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences79
matches
0"Just smooth trails in the"
ratio0.013
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount16
totalSentences79
matches
0"Her sharp jaw set as"
1"He was a thick-set man"
2"She knelt beside a puddle"
3"She walked toward the center"
4"She pointed toward the pitch-black"
5"Their needles were spinning wildly,"
6"Her skin went cold, a"
7"She reached into a pile"
8"Its casing bore a heavy"
9"she snapped, stepping into his"
10"Her at the floor."
11"She pointed her torch beam"
12"she said softly"
13"You know what this place"
14"It wasn't supposed to be"
15"It came to"
ratio0.203
48.61% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount65
totalSentences79
matches
0"Detective Harlow Quinn brushed past"
1"Harlow paused on the tiled"
2"DS Miller's voice echoed up"
3"Harlow checked her worn leather"
4"Her sharp jaw set as"
5"The scent of ozone and"
6"Harlow murmured, stepping over a"
7"Miller said, shining his torch"
8"He was a thick-set man"
9"Harlow said, her brown eyes"
10"She knelt beside a puddle"
11"The blood pooled around an"
12"The liquid still shivered, reacting"
13"Miller said, tapping a pocket"
14"Harlow picked up a notched"
15"A precise glyph was carved"
16"Harlow stood up slowly, her"
17"She walked toward the center"
18"She pointed toward the pitch-black"
19"Miller countered, though his torch"
ratio0.823
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences79
matches(empty)
ratio0
61.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences35
technicalSentenceCount4
matches
0"Beneath Camden High Street lay decades of forgotten iron and chalk, but tonight, the cold air carried a sharp, copper stench that had nothing to do with rust."
1"He was a thick-set man who smelled of cheap aftershave and greasy chips."
2"Deep, parallel grooves scarred the rusty iron rails, as if something heavy had been dragged away in a hurry, or something massive had pushed its way through."
3"She pointed her torch beam at a smudge near the tunnel entry. A handprint. But the fingers were far too long, the palm narrow and warped, ending in sharp, dragg…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags32
uselessAdditionCount9
matches
0"Harlow said, her brown eyes scanning the wreckage"
1"Harlow said, her voice dropping an octave"
2"the woman whispered, her freckled complexion stark white in the harsh glare"
3"the girl said, her voice trembling but surprisingly precise"
4"Harlow took, her shadow stretching long over the bloodied tiles"
5"Eva said, her fingers clutching her satchel tighter"
6"Eva whispered, her round glasses catching the spinning light of the compasses"
7"Eva corrected, her voice dropping to a harsh whisper"
8"Miller yelled, his radio crackling with static"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags22
fancyCount10
fancyTags
0"Harlow murmured (murmur)"
1"Miller insisted (insist)"
2"she snapped (snap)"
3"the woman whispered (whisper)"
4"Harlow called out (call out)"
5"Harlow corrected (correct)"
6"Eva whispered (whisper)"
7"Eva corrected (correct)"
8"Miller yelled (yell)"
9"Eva whispered (whisper)"
dialogueSentences61
tagDensity0.361
leniency0.721
rawRatio0.455
effectiveRatio0.328
79.2611%