Run: 2026-07-25-01KYD5R5Q6KTXK1WFCAYDNXJBQ

Run Details

Duration:
1m 25s
Cost:
$0.032018
Provider:
Moonshot AI

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
The suspect's heel caught the kerb on Brewer Street and Quinn closed three metres before he recovered. "Police! Stop!" He didn't stop. They never did. He vaulted a chained bicycle and cut left into an alley between a shuttered kebab house and a betting shop, his coat flapping like something winged and panicked. Quinn followed, boots hammering the wet tarmac, rain needling sideways into her eyes. Eighteen years on the force and the rule held. The fast ones ran in straight lines. The clever ones ran down. This one was clever. "Control, this is DI Quinn, foot pursuit, male, white, forties, grey coat, heading north from Brewer Street." The radio crackled static against her shoulder. "Requesting units to Frith Street." "Say again, DI Quinn, you're breaking up." She dropped the radio hand and ran harder. The alley stank of fryer oil and bins overdue for collection. Her suspect hit the far end, glanced back once, and Quinn caught his face in the smeared light of a security lamp. Pale. Sunken around the eyes. A face she'd seen in three separate case files in the last six weeks, always at the edge of a photograph, never the subject. Tonight she'd finally made him the subject, sitting outside the Raven's Nest in an unmarked Astra, watching him exchange a parcel with a man who'd walked in human and walked out wrong. The parcel was in his coat now. She wanted it almost as much as she wanted him. He broke onto Frith Street, scattered a pair of smokers outside a basement club, and disappeared up Old Compton Street with the particular speed of a man who knew where he was going. Quinn's left knee complained, an old gift from a stairwell in Brixton, and she told it to wait its turn. Cambridge Circus. Then the long drag of Charing Cross Road, umbrellas blooming against her, pedestrians pressing flat to shopfronts as the two of them tore past. Her suspect dodged a night bus with inches to spare. Quinn went round the back of it and lost four seconds. "Control, suspect heading north on Charing Cross Road. Where are my units?" "Units en route, DI Quinn. Continue to update." Continue to update. She'd been updating since Soho and the cavalry remained theoretical. Morris used to say that backup was like a bus, you waited half your life and then it ran you over. Morris. Not tonight. The suspect crossed Tottenham Court Road against the lights, through a blare of horns, and veered down a side street she didn't know. Quinn knew this city the way she knew the scars on her own hands, and she did not know this street. Narrow. Unlit at the far end. A hoarding wrapped around scaffolding, the developer's smiling CGI families washed grey by the rain. He slipped through a gap in the hoarding and vanished. Quinn stopped at the gap, one hand on the rough plywood, breath burning. Torch off her belt. She swept the beam inside. A construction site that had stopped constructing. Pallets of bricks furred with moss. A cement mixer rusting on its side. And at the rear, where a Georgian terrace had been gutted back to its bones, a doorway that shouldn't have been there, standing open onto a staircase that went down. Not to a basement. Down, properly down, the kind of depth that swallowed her torch beam whole. She heard his footsteps on the stairs. Fading. "Control, DI Quinn. Suspect has entered a structure off..." She looked for a street name. Nothing. "Off Tottenham Court Road, east side. I'm going in after him." "DI Quinn, negative, wait for backup, repeat, wait for backup." She keyed off the radio and went in. The stairs were old, older than the site above them, worn smooth in the centre by a century of feet. Tiles lined the walls, cracked Victorian white, and Quinn placed it with a jolt. A Tube station. One of the dead ones, the stations London had buried and forgotten. The air cooled as she descended, carrying up a smell that didn't belong to any abandoned railway, incense and something coppery, something that made the fillings in her teeth ache. Her instincts, the ones that had kept her alive through eighteen years of decorated service, lined up along the staircase railing and told her to go back. Three case files. Three bodies drained of things no pathology report could name. And a man three flights below her carrying a parcel. She went down. The staircase opened onto a platform, and Quinn stopped dead. The station was alive. Stalls lined the platform edge, dozens of them, rigged from scaffold poles and tarpaulin and strings of lights that burned the wrong colour, a greenish white that made every face beneath them look drowned. Crowds moved between the stalls in the space where tracks should have been, though the tracks were gone, covered over with plank walkways. She heard haggling in four languages and one she didn't recognise as a language at all, a clicking, fluid sound that raised the hairs on her arms. A market. An entire market under Camden, breathing beneath the city like a second set of lungs. A woman at the nearest stall turned from a tray of small glass bottles, each one corked with wax, and fixed Quinn with eyes the colour of wet stone. "Token," the woman said. "I'm sorry?" "Bone token. For entry." The woman's gaze travelled down Quinn's coat and found, Quinn knew with cold certainty, the exact shape of the warrant card and the exact shape of the sidearm she wasn't carrying on a surveillance shift. "You have no token." "Metropolitan Police." Quinn kept her voice level, the voice for doorsteps and armed standoffs. "I'm in pursuit of a suspect. Grey coat, came through here thirty seconds ago." "A great many people come through here." "He's carrying stolen property." Something moved at the edge of Quinn's vision. Two men by a support pillar, watching her with the stillness of people deciding. One of them had a face that caught the light wrongly, as though the bones beneath had been rearranged by a careless hand. Morris had looked like that, at the end. At the scene, three years ago, under the flyover. His face wrong in ways the coroner had filed under inconclusive. Quinn had spent three years being told she'd imagined it. She had not imagined it. She was looking at it. "Last chance," she said to the stallholder. "The man in the grey coat." The woman's wet-stone eyes flicked, just once, towards the far end of the platform, where the tunnel mouth gaped black and something large shifted in its depths. Quinn was already moving. She pushed through the crowd and the crowd parted strangely, too fast, bodies flowing away from her like water from a stone. Someone whispered a word as she passed and repeated it, and she heard it travel ahead of her through the market, stall to stall, a ripple of sound she couldn't make out. The clicking language stopped. Then the haggling stopped. By the time she reached the platform's far end, the only sounds were the rain-muffled city far above and her own breathing. The tunnel mouth yawned before her, bricks weeping moisture, her suspect's footprints clear in the black silt. And standing at the tunnel's edge, blocking half of it, was a man she'd never seen before, olive-skinned, short curly hair gone dark with drizzle, a Saint Christopher medallion glinting at his open collar. He had a scar along his left forearm and a medic's calm in his warm brown eyes, the calm of a man who'd held pressure on worse things than this. "You don't want to go in there, Detective." "How do you know what I am?" "Everyone in the Market knows what you are." He didn't move. "It's why they're letting you leave." "Then they can arrest me on the way out. I'm going in." "What's in that tunnel doesn't care about your warrant." His voice stayed soft, a Seville lilt worn smooth by London. "I patch up the ones who come back. There's room on my table tonight. I'd rather not use it on you." Behind her, the market had gone silent in a way that had weight. Quinn heard cloth shifting, heard the collective turning of a hundred heads. The green-white lights dimmed at the edges of her vision, or her vision dimmed around them. In the tunnel, footsteps. Not the suspect's. These were heavier, and there were more of them, and they were coming towards the light. The medic heard them too. The calm in his eyes cracked, just a fraction, the way a windscreen cracks before it goes. "Detective," he said, and his hand found her elbow with a grip that had steel under it. "Decide now." The tunnel exhaled. Something in it answered with a sound like a match being struck. And Quinn reached for the sidearm she wasn't carrying.
created_at"2026-07-25T17:39:14.287Z" 7/25/2026, 5:39:14 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3679
moderation_latency(null)
generation_time85438
tokens_prompt4484
tokens_completion2298
native_tokens_prompt4249
native_tokens_completion2022
native_tokens_completion_images(null)
native_tokens_reasoning115
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.0320178
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provider_responses
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endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64f4b1967b8ab62c55dd56"
is_byokfalse
latency3679
model_permaslug"moonshotai/kimi-k3-20260715"
provider_name"Moonshot AI"
status200
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences28
tagDensity0.321
leniency0.643
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1500
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
73.33% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1500
totalAiIsms8
found
0
word"footsteps"
count2
1
word"structure"
count1
2
word"flicked"
count1
3
word"depths"
count1
4
word"glinting"
count1
5
word"lilt"
count1
6
word"weight"
count1
highlights
0"footsteps"
1"structure"
2"flicked"
3"depths"
4"glinting"
5"lilt"
6"weight"
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
narrationSentences105
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences105
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences124
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1500
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount1299
uniqueNames26
maxNameDensity1.39
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Brewer1
Street3
Quinn18
Raven1
Nest1
Astra1
Frith1
Old1
Compton1
Brixton1
Circus1
Charing1
Cross1
Road2
Soho1
Tottenham1
Court1
Georgian1
Victorian1
Tube1
London2
Camden1
Saint1
Christopher1
Seville1
Morris3
persons
0"Quinn"
1"Astra"
2"Camden"
3"Saint"
4"Christopher"
5"Morris"
places
0"Brewer"
1"Street"
2"Raven"
3"Frith"
4"Old"
5"Compton"
6"Brixton"
7"Charing"
8"Cross"
9"Road"
10"Soho"
11"Tottenham"
12"Court"
13"Georgian"
14"London"
15"Seville"
globalScore0.807
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount1
matches
0"looked like that, at the end"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1500
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences124
matches
0"say that backup"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs60
mean25
std22.56
cv0.902
sampleLengths
017
12
247
321
44
529
67
78
894
917
1053
1147
1212
138
1434
153
1665
1710
1822
1950
2017
218
2227
2310
248
2579
2627
2723
283
2910
304
3184
3217
3329
344
352
3643
3728
387
394
4045
4138
4210
4313
4427
454
4684
4717
4864
498
88.55% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences105
matches
0"been gutted"
1"were gone"
2"been rearranged"
3"being told"
4"being struck"
2.96% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs203
matches
0"was going"
1"wasn't carrying"
2"was looking"
3"was already moving"
4"were coming"
5"wasn't carrying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences124
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1303
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.02072141212586339
lyAdverbCount6
lyAdverbRatio0.004604758250191865
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences124
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences124
mean12.1
std9.11
cv0.753
sampleLengths
017
12
23
33
428
513
69
77
85
94
1024
115
127
138
1411
1522
161
174
1824
1932
207
2110
2233
2320
242
2524
2610
2711
2812
298
303
3110
3221
331
342
3523
3621
371
385
3915
4010
4113
424
435
447
456
467
4730
484
4913
73.66% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.47580645161290325
totalSentences124
uniqueOpeners59
68.73% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences97
matches
0"Then the long drag of"
1"Then the haggling stopped."
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences97
matches
0"He didn't stop."
1"They never did."
2"He vaulted a chained bicycle"
3"She dropped the radio hand"
4"Her suspect hit the far"
5"She wanted it almost as"
6"He broke onto Frith Street,"
7"Her suspect dodged a night"
8"She'd been updating since Soho"
9"He slipped through a gap"
10"She swept the beam inside."
11"She heard his footsteps on"
12"She looked for a street"
13"She keyed off the radio"
14"Her instincts, the ones that"
15"She went down."
16"She heard haggling in four"
17"His face wrong in ways"
18"She had not imagined it."
19"She was looking at it."
ratio0.268
68.25% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount76
totalSentences97
matches
0"The suspect's heel caught the"
1"He didn't stop."
2"They never did."
3"He vaulted a chained bicycle"
4"Quinn followed, boots hammering the"
5"The fast ones ran in"
6"The clever ones ran down."
7"This one was clever."
8"The radio crackled static against"
9"She dropped the radio hand"
10"The alley stank of fryer"
11"Her suspect hit the far"
12"A face she'd seen in"
13"Tonight she'd finally made him"
14"The parcel was in his"
15"She wanted it almost as"
16"He broke onto Frith Street,"
17"Quinn's left knee complained, an"
18"Her suspect dodged a night"
19"Quinn went round the back"
ratio0.784
51.55% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences97
matches
0"By the time she reached"
ratio0.01
32.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount8
matches
0"Tonight she'd finally made him the subject, sitting outside the Raven's Nest in an unmarked Astra, watching him exchange a parcel with a man who'd walked in hum…"
1"He broke onto Frith Street, scattered a pair of smokers outside a basement club, and disappeared up Old Compton Street with the particular speed of a man who kn…"
2"Then the long drag of Charing Cross Road, umbrellas blooming against her, pedestrians pressing flat to shopfronts as the two of them tore past."
3"The air cooled as she descended, carrying up a smell that didn't belong to any abandoned railway, incense and something coppery, something that made the filling…"
4"Her instincts, the ones that had kept her alive through eighteen years of decorated service, lined up along the staircase railing and told her to go back."
5"She heard haggling in four languages and one she didn't recognise as a language at all, a clicking, fluid sound that raised the hairs on her arms."
6"And standing at the tunnel's edge, blocking half of it, was a man she'd never seen before, olive-skinned, short curly hair gone dark with drizzle, a Saint Chris…"
7"He had a scar along his left forearm and a medic's calm in his warm brown eyes, the calm of a man who'd held pressure on worse things than this."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount0
fancyTags(empty)
dialogueSentences28
tagDensity0.107
leniency0.214
rawRatio0
effectiveRatio0
86.9996%