Run: 2026-07-25-01KYD5WCYQK1659YN5QY2VRW31

Run Details

Duration:
22.6s
Cost:
$0.012530
Provider:
Meta

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
He cleared the railing on Dean Street like it owed him money. Quinn hit the same railing half a second later and her palm slipped. Wet iron. Rust and rain. She caught herself, swung her legs over, and her boots slapped the alley floor on the other side. Pain shot up her left knee, old injury, familiar. She kept running. "Stop! Police!" The figure ahead didn't stop. Black hoodie, too dry in a way that caught her eye, moving too fast for someone who had just taken two bullets worth of tramadol from evidence lockup. He cut left, into the service cut between the restaurants. Bins overflowed. The smell hit her, rancid oil and rot, and she pushed through it. Her radio crackled on her shoulder, useless. "Davis, I'm in pursuit on foot, heading north from Old Compton towards Shaftesbury. Male, one eighty, black hoodie, grey trainers." No answer. Brick swallowed signal down here. He burst out the other end of the alley and into the thick of Soho foot traffic, even at this hour. Umbrellas bobbed. Someone shouted. Quinn shoved past a couple holding hands, her worn leather watch catching the streetlight as her sleeve rode up. He was gone. Not gone. Checked. Quinn stopped in the middle of the pavement, chest heaving, eyes working the crowd with military precision. Three years on the Met taught you to look for movement, not faces. There. A twitch of black by the green light. The Raven's Nest sat wedged between a shuttered sex shop and a noodle bar that never closed, its distinctive green neon sign bleeding colour onto the wet pavement. The sign buzzed, flickered. The Nest. Silas' bar. She knew it from the file photos. Known associate of her suspect. Known fence for things the property office refused to catalogue. The door swung shut just as she reached it. Inside, the bar swallowed sound. The walls were covered with old maps and black and white photographs, frames crooked, glass dusty. Low amber bulbs threw long shadows. It smelt of spilled beer and lemon polish and something older, like attic air. Slow jazz fought the rain drumming the windows. Three regulars nursed pints and did not look up. That was a tell in itself. The barman, Silas, wiped a glass and watched her. He had a face made for forgetting. "Evening, Detective." "You saw him." "I see a lot of people." Quinn moved to the bar. Her coat dripped onto the brass foot rail. Water ran from her closely cropped salt and pepper hair down the sharp line of her jaw. "Black hoodie. Grey trainers. Came through here thirty seconds ago. Where's the back exit." "Back exit's for staff only. Council regs." "Funny. I thought you liked to ignore regs." Silas set the glass down. His eyes flicked, just once, towards the far wall, where a tall bookshelf sagged under the weight of old ledgers and mismatched paperbacks. "Gentleman's in a hurry, Harlow." Quinn's hand tightened on the edge of the bar. "You know my name." "People talk." "They do." She left him there and crossed the room in five strides. The bookshelf stank of damp paper. Behind Tom Clancy and a chipped copy of Gray's Anatomy, the wood showed fresh palm prints. Pushed. She found the seam, dug her fingers in, and heaved. The hidden back room breathed cold air in her face. No windows. A single bulb. A steel door on the far side, propped an inch open, rain coming through in a fine spray. A dropped bone token clattered on the floor by her foot, small, yellowed, carved with a spiral that made her eyes water if she looked too long. She picked it up. Bone. Warm, despite the cold. Entry requirement, the file had said. For places that shouldn't exist. Her radio hissed back to life for a second. "Quinn? Quinn, do you copy?" "I'm at the Nest. I'm going down." "Quinn, wait for backup, that whole grid's unregistered, we can't get a fix on-" The line died. The steel door led to a service stairwell that dropped straight down, concrete slick with water, no handrail. The air got colder with every step. The smell changed, from kitchen rot to wet earth and copper and old incense. Copper stung her nostrils. Blood. Recent. Her suspect's trainers squeaked ahead, echoing. He was limping now. The drugs, or fear. The stairs bottomed out into a disused maintenance tunnel. Graffiti glowed faintly under cheap emergency strip lights, then the strip lights gave up and there was only a wash of amber from further in. A decommissioned roundel, Northern Line, Charing Cross colours but wrong, peeled from the tiles. This was not on any current Tube map. The abandoned station beneath Camden, they called it when they needed to file paperwork. Moves every full moon. The Veil Market never stayed put. Tonight it had decided to anchor under Soho. Voices leaked down the tunnel. Not one or two. Dozens. A low market hum, haggling, laughter, something that gurgled. Quinn drew her baton. Standard issue, extended with a flick. She left the torch on her belt. Light would announce her. She reached the platform edge. The Veil Market spread out in front of her like a wound lit from inside. Stalls cobbled together from luggage racks and old service carts and upturned pews lined the dead tracks. Lanterns that burned without oil hung from signal gantries. The crowd was wrong. Half of them wore hoods like her suspect. The other half had things wrong with their faces in the half light. Too many teeth. Eyes that caught the lanterns wrong. One woman sold what looked like bottled thunderstorms. A child with no shadow hawked meat on sticks that still twitched. Rain found its way in somehow, even this deep. It dripped from the vaulted ceiling and turned the track bed to slurry. In the middle of it all, the kid in the black hoodie had stopped. He bent double, hands on knees, gasping. Close up he was younger than she thought. Twenty at most. Cheekbones sharp, skin clammy. He looked over his shoulder and saw her and pure panic lit him up. He did not run towards the market crowd. He ran across the tracks. "Police! Get on the ground!" Her voice cracked across the vault. Heads turned. All of them. Market chatter died as if someone had cut the wire. The boy slipped in the slurry, went down, scrambled up covered in black mud that moved on its own, just a little. Quinn stepped off the platform. Her boots sank. The mud sucked. Something under the surface brushed her ankle and kept going. Wrong place to follow. This was not jurisdiction. Not backup territory. Every instinct from eighteen years shouted wait, hold, call it in. The file note for DS Morris three years ago had said the same tunnel, same code, same bloody bone token found in his pocket when they pulled him out of the canal. Case closed as accidental drowning. No backup arrived then either. She went anyway. Halfway across the track bed, a hand clamped onto her forearm from behind. Strong. Olive skin, scar running along the left forearm from a knife attack. "Harlow, no." Tomás Herrera stepped out of shadow like he belonged there. Short curly dark brown hair plastered to his head, Saint Christopher medallion around his neck catching lantern light, warm brown eyes narrowed. "You should not be here." "You should not be stalking me, Tommy." "I wasn't stalking. Silas called me. Said you were going to get yourself killed doing that military charge thing you do." His grip was firm, medical professional, not aggressive, and she shook him off. "That kid took evidence. That kid is linked to Morris." "And if you grab him here, you start a war. These people do not like police. They like him even less, but they hate a badge more." "Then look away." Tomás looked past her, to the boy, who now reached the opposite platform and cowered against a stall selling bottled fingers. "He's bleeding internally. The stuff he stole, it will kill him in an hour if it doesn't fix him. Let it kill him. Easier for everyone." "That's not your call." "It is when you call me to patch up your supernatural patients off the books, Detective." She pushed past him. The market crowd parted, but not far. A tall thing with antlers for a hat leaned in too close. Its breath smelt of car exhaust. The boy looked up as her shadow fell over him. She saw the packet in his hand, half crushed, cheap plastic, glowing faint green inside. "Give me that." He shook his head. Tears cut clean lines through the grime on his face. "Please. My sister. She needs-" Behind her, Tomás swore in Spanish, low and fast. A new sound cut through the market hiss. Footsteps, measured, unhurried, from the dark tunnel mouth at the north end of the platform. Boots on concrete. Not running. The kind of walk that owned the floor it walked on. The market crowd did what crowds do when the real predator arrived. They vanished. Stalls shuttered in seconds. Lanterns dimmed. The boy made a small noise and curled tighter around the packet. Quinn turned, baton raised, water dripping from her nose, from her chin, and watched the darkness congeal into a shape. And the shape said her name.
created_at"2026-07-25T17:41:32.77Z" 7/25/2026, 5:41:32 PM
model"meta/muse-spark-1.1-20260709"
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tokens_completion2295
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native_tokens_completion2761
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native_tokens_reasoning684
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num_input_audio_prompt(null)
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1575
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)
71.43% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1575
totalAiIsms9
found
0
word"familiar"
count1
1
word"flickered"
count1
2
word"flicked"
count1
3
word"weight"
count1
4
word"echoing"
count1
5
word"standard"
count1
6
word"footsteps"
count1
7
word"measured"
count1
8
word"predator"
count1
highlights
0"familiar"
1"flickered"
2"flicked"
3"weight"
4"echoing"
5"standard"
6"footsteps"
7"measured"
8"predator"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences156
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences156
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences185
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1575
ratio0
matches(empty)
62.50% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions1
matches
0"The abandoned station beneath Camden, they called it when they needed to file paperwork."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1338
uniqueNames26
maxNameDensity0.6
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Tomás"
discoveredNames
Dean1
Street1
Soho2
Met1
Raven1
Nest2
Silas2
Tom1
Clancy1
Gray1
Anatomy1
Northern1
Line1
Charing1
Cross1
Tube1
Camden1
Veil2
Market3
Morris1
Herrera1
Saint1
Christopher1
Tomás3
Spanish1
Quinn8
persons
0"Met"
1"Raven"
2"Nest"
3"Silas"
4"Tom"
5"Clancy"
6"Gray"
7"Line"
8"Cross"
9"Morris"
10"Herrera"
11"Saint"
12"Christopher"
13"Tomás"
14"Quinn"
places
0"Dean"
1"Street"
2"Soho"
3"Market"
4"Spanish"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount1
matches
0"looked like bottled thunderstorms"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1575
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences185
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs77
mean20.45
std19.59
cv0.958
sampleLengths
012
148
22
333
432
520
67
744
83
933
109
1158
129
1364
1416
152
163
176
1830
1914
207
218
2228
235
249
254
262
272
2844
2960
3020
319
325
337
3414
353
3645
3714
3888
3919
4021
415
4295
4322
4450
4513
465
4721
4822
4921
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences156
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs233
matches
0"was limping"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences185
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount416
adjectiveStacks0
stackExamples(empty)
adverbCount7
adverbRatio0.016826923076923076
lyAdverbCount2
lyAdverbRatio0.004807692307692308
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences185
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences185
mean8.51
std6.44
cv0.757
sampleLengths
012
113
22
33
418
59
63
72
85
928
1010
112
1213
137
1420
152
165
1721
182
192
2019
213
222
231
2417
2513
261
278
2828
294
302
312
327
335
3410
359
365
3716
386
3914
408
419
426
439
447
452
463
476
485
498
72.25% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.4756756756756757
totalSentences185
uniqueOpeners88
24.51% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences136
matches
0"Too many teeth."
ratio0.007
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences136
matches
0"He cleared the railing on"
1"She caught herself, swung her"
2"She kept running."
3"He cut left, into the"
4"Her radio crackled on her"
5"He burst out the other"
6"He was gone."
7"She knew it from the"
8"It smelt of spilled beer"
9"He had a face made"
10"Her coat dripped onto the"
11"His eyes flicked, just once,"
12"She left him there and"
13"She found the seam, dug"
14"She picked it up."
15"Her radio hissed back to"
16"Her suspect's trainers squeaked ahead,"
17"He was limping now."
18"She left the torch on"
19"She reached the platform edge."
ratio0.243
62.94% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount108
totalSentences136
matches
0"He cleared the railing on"
1"Quinn hit the same railing"
2"Rust and rain."
3"She caught herself, swung her"
4"Pain shot up her left"
5"She kept running."
6"The figure ahead didn't stop."
7"He cut left, into the"
8"The smell hit her, rancid"
9"Her radio crackled on her"
10"Brick swallowed signal down here."
11"He burst out the other"
12"Quinn shoved past a couple"
13"He was gone."
14"Quinn stopped in the middle"
15"A twitch of black by"
16"The Raven's Nest sat wedged"
17"The sign buzzed, flickered."
18"She knew it from the"
19"The door swung shut just"
ratio0.794
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences136
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount2
matches
0"Black hoodie, too dry in a way that caught her eye, moving too fast for someone who had just taken two bullets worth of tramadol from evidence lockup."
1"A dropped bone token clattered on the floor by her foot, small, yellowed, carved with a spiral that made her eyes water if she looked too long."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
89.7877%