Run: 2026-07-25-01KYD7HTG1NTWA4A69CJGDWV1A

Run Details

Duration:
1m 14s
Cost:
$0.030998
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 vaulted the bins on Brewer Street and Quinn's ankle rolled on wet cobbles, sending a spike of pain up her shin. She kept running. Eighteen years of foot chases and this one moved like smoke. Young, slight, hood up, trainers flashing pale against the black shine of the pavement. He'd bolted the moment she'd shown the warrant card outside the flat on Berwick Street, and now they were both drowning in it, rain hammering the awnings, gutters vomiting water, the neon of Soho smearing itself across every surface. "Met Police! Stop!" He didn't stop. They never did. Quinn's radio crackled against her shoulder. Davies, somewhere behind, out of breath and out of position. "Quinn, what's your twenty?" "Heading north. Brewer Street." She sucked air through her teeth. "White male, twenties, grey hoodie. He's quick." "Backup's four minutes out." "You'll lose him in four minutes." She killed the channel. The suspect cut left into an alley, knocked a mop bucket spinning, and Quinn took the corner wide to avoid it, leather soles skating. Her watch face, worn and cracked on her left wrist, caught a bar sign and threw it back green. Green. She knew that green. The Raven's Nest sat three doors along, its neon buzzing over the doorway like a warning. Silas' bar. The place her suspect from the Blackwood case had crawled out of six weeks ago, the place her informants went quiet about, the place that kept turning up in her notebook like a stain that wouldn't lift. The kid ran straight past it. Past, not in. Interesting. He burst out onto Dean Street and into the traffic, horns blaring, a black cab sliding sideways through the spray. Quinn followed without breaking stride, one palm slapping the cab's wet bonnet as she crossed, the driver screaming something she filed under nothing. "Sir, I just want a word!" The kid glanced back. First mistake. His hood fell and she saw his face properly for the first time. Younger than she'd thought. Terrified. And something wrong with his eyes, a shine that wasn't streetlight, a gleam too low and too gold. He ran harder. They left Soho behind in pieces. Tottenham Court Road, shuttered shops, the late crowd huddled under bus shelters watching them pass like a scene from someone else's evening. Quinn's lungs burned. Her coat had soaked through an hour ago and now it hung off her like chain mail. The kid was fading though. She could see it in his stride, the shortening steps, the right shoulder dipping. Whatever he was running on, adrenaline or something else, it was running out. Camden High Street rose ahead, all closed stalls and dripping awnings, the night market crowd gone home hours since. The kid dodged between two parked delivery vans and vanished down a side street. Quinn slowed at the corner. Took the turn low and ready. The street was empty. Bins, fire escapes, a shuttered bakery. Rain ticking off metal. No footsteps. No running figure. Just a door at the far end standing open where every other door was shut, a rusted service entrance set into the side of an old brick building, and beyond it, darkness and stairs going down. She drew her baton. Extended it with a snap that the rain swallowed. "Davies." She keyed the radio. "Side street off Camden High, north side. Suspect's gone to ground in a building. I need that backup." Static. Then Davies, faint and broken. "Say again... losing you... what's your..." The signal died into hiss. Quinn looked at the radio. Looked at the door. The building didn't match its neighbours. No signage, no boarded windows, just brick that sweated damp and a lintel carved with something she couldn't read from here. The doorway exhaled cold air. She felt it from fifteen metres away, a draught with a smell underneath the wet stone. Incense. Old copper. Something sweet gone wrong. Every instinct she'd trained into herself said wait. Contain the exit, call it in, let the cavalry arrive. That was procedure. That was how you stayed alive for eighteen years. But Morris had followed procedure three years ago, down in a basement in Stepney, and procedure hadn't done a single thing for him. She went in. The stairs were old Underground iron, spiralling down into the dark, and the moment her boots hit the first step the temperature dropped ten degrees. Her breath smoked. She pulled her torch and swept it across the walls. Tiles. Green Victorian tiles, cracked and furred with black mould, and a roundel on the far wall with the station name painted out, not worn, deliberately obscured, scratches through the enamel. A disused station. There were dozens under London, sealed after the war, forgotten by everyone except the odd urban explorer who'd come up talking nonsense about what they'd seen. The kid's footsteps echoed below. Not running now. Walking. Unhurried. Either he thought he'd lost her, or he wanted her to follow. Quinn descended. Baton in her right hand, torch in her left, back to the wall on every landing. The spiral opened onto a platform and she stopped dead. The platform was full of people. Stalls lined the old tracks where the rails should have been, lit by lanterns that burned with a blue-white flame and gave off no smoke. Figures moved between them in ones and twos, cloaked, hooded, masked, haggling in low voices over tables laid with jars and bundles and things that moved inside their packaging. A woman with antlers, actual antlers, rising from her hairline, weighed out grey powder on brass scales. A man in a butcher's apron sharpened a cleaver, and his shadow on the wall behind him had three arms. Nobody looked at her. That was worse than being looked at. Quinn's torch beam caught the nearest stall. Glass eyes in rows, and one of them swivelled to follow the light. She lowered the torch slowly. Her grey-hooded suspect stood twenty metres along the platform, bone-pale in the lamplight, talking fast to a stallholder. He held out something small and white. The stallholder turned it over, nodded, and the kid looked back down the platform. Straight at her. He smiled. Not a frightened kid's smile. The smile of someone standing on his own ground. "Lady." A voice at her elbow, close enough that she flinched. An old woman, hunched, wrapped in shawls, face hidden except for one milky eye. "You're carrying iron and intent. Both cost extra down here." "I'm police." "Not down here, you ain't." The milky eye fixed on her. "Market's got rules. Bone at the door, first of them. You come in without a token, someone let you in. Ask yourself who." Behind the old woman, the kid had started walking. Deeper in. Past the stalls, towards the dark mouth of the tunnel where the blue lamplight died. Quinn's radio squawked once, a burst of Davies' voice, shredded and distant. "...armed response... hold position, Quinn, do not... do not..." Do not what. The rest never came. The old woman shuffled aside, clearing her path, and something about the way she did it made Quinn's skin crawl. It wasn't courtesy. It was someone stepping away from a marked target. She could wait here. Stand at the edge of the platform in the light, surrounded by a hundred witnesses who sold enchanted contraband to whatever walked through London's dark, and wait for backup that might never find the door. Lose the kid. Lose the thread she'd been pulling for six weeks, the one that led from a dead girl in Stepney to a bar in Soho to this. Or she could walk into the dark after him, alone, without a token, in a place that had rules she didn't know. Quinn thought of Morris on that basement floor. Thought of the report she'd been ordered to sign, the one that said nothing about what she'd actually seen. She holstered the baton. Not because it was safe. Because a weapon she couldn't explain was worse than none. "That's the spirit," the old woman said behind her, and laughed like stones knocking together. Quinn stepped off the platform onto the track bed, into the dark between the lanterns, and followed the gold-eyed boy into the tunnel.
created_at"2026-07-25T18:10:43.34Z" 7/25/2026, 6:10:43 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2881
moderation_latency(null)
generation_time74401
tokens_prompt4484
tokens_completion2213
native_tokens_prompt4249
native_tokens_completion1954
native_tokens_completion_images(null)
native_tokens_reasoning157
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)
usage0.0309978
router(null)
provider_responses
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endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64fc0e7e31418b01e555d9"
is_byokfalse
latency2881
model_permaslug"moonshotai/kimi-k3-20260715"
provider_name"Moonshot AI"
status200
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request_id"req-1785003043-GcZHs3qXPXKGlqcEgHjF"
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api_type"completions"
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upstream_id"chatcmpl-6a64fc0e7e31418b01e555d9"
total_cost0.0309978
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upstream_inference_cost0
provider_name"Moonshot AI"
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data_region"global"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences17
tagDensity0.294
leniency0.588
rawRatio0
effectiveRatio0
92.75% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1379
totalAiIsmAdverbs2
found
0
adverb"deliberately"
count1
1
adverb"slowly"
count1
highlights
0"deliberately"
1"slowly"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Blackwood"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
89.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1379
totalAiIsms3
found
0
word"footsteps"
count2
1
word"echoed"
count1
highlights
0"footsteps"
1"echoed"
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
narrationSentences123
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences123
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences136
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
totalWords1379
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
98.41% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1260
uniqueNames20
maxNameDensity1.03
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Brewer1
Street4
Quinn13
Berwick1
Soho3
Raven1
Nest1
Blackwood1
Dean1
Court1
Road1
High1
Static1
Davies2
Morris2
Stepney2
Underground1
Victorian1
London2
Do1
persons
0"Quinn"
1"Raven"
2"Nest"
3"Davies"
4"Morris"
5"Victorian"
places
0"Brewer"
1"Street"
2"Berwick"
3"Soho"
4"Blackwood"
5"Dean"
6"Court"
7"Road"
8"High"
9"Stepney"
10"London"
globalScore0.984
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1379
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences136
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs54
mean25.54
std21.69
cv0.85
sampleLengths
026
164
23
36
416
54
617
74
86
947
1060
1110
1243
136
1442
153
1680
1733
1811
194
2051
2113
2223
2312
245
2564
2630
2723
283
2969
3029
3110
3212
3328
346
3591
3611
3725
3839
393
4016
4135
422
4334
4426
4521
467
4732
4868
4922
93.85% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences123
matches
0"was shut"
1"been, lit"
2"being looked"
3"been ordered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs223
matches
0"was running"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences136
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount251
adjectiveStacks0
stackExamples(empty)
adverbCount5
adverbRatio0.0199203187250996
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences136
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences136
mean10.14
std8.65
cv0.853
sampleLengths
023
13
211
314
439
53
63
73
86
910
104
1110
127
134
146
154
1624
1719
181
194
2016
212
2237
236
243
251
2620
2723
286
294
302
3113
324
331
3418
353
366
3722
383
3917
405
4114
4213
4319
4414
455
466
474
486
494
82.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.5294117647058824
totalSentences136
uniqueOpeners72
61.16% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences109
matches
0"Just a door at the"
1"Then Davies, faint and broken."
ratio0.018
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences109
matches
0"She kept running."
1"He'd bolted the moment she'd"
2"He didn't stop."
3"They never did."
4"She sucked air through her"
5"She killed the channel."
6"Her watch face, worn and"
7"She knew that green."
8"He burst out onto Dean"
9"His hood fell and she"
10"He ran harder."
11"They left Soho behind in"
12"Her coat had soaked through"
13"She could see it in"
14"She drew her baton."
15"She keyed the radio"
16"She felt it from fifteen"
17"She went in."
18"Her breath smoked."
19"She pulled her torch and"
ratio0.248
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount78
totalSentences109
matches
0"The suspect vaulted the bins"
1"She kept running."
2"He'd bolted the moment she'd"
3"He didn't stop."
4"They never did."
5"Quinn's radio crackled against her"
6"Davies, somewhere behind, out of"
7"She sucked air through her"
8"She killed the channel."
9"The suspect cut left into"
10"Her watch face, worn and"
11"She knew that green."
12"The Raven's Nest sat three"
13"The place her suspect from"
14"The kid ran straight past"
15"He burst out onto Dean"
16"Quinn followed without breaking stride,"
17"The kid glanced back."
18"His hood fell and she"
19"He ran harder."
ratio0.716
91.74% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences109
matches
0"Either he thought he'd lost"
1"Because a weapon she couldn't"
ratio0.018
51.67% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences47
technicalSentenceCount6
matches
0"The place her suspect from the Blackwood case had crawled out of six weeks ago, the place her informants went quiet about, the place that kept turning up in her…"
1"And something wrong with his eyes, a shine that wasn't streetlight, a gleam too low and too gold."
2"There were dozens under London, sealed after the war, forgotten by everyone except the odd urban explorer who'd come up talking nonsense about what they'd seen."
3"Stalls lined the old tracks where the rails should have been, lit by lanterns that burned with a blue-white flame and gave off no smoke."
4"Figures moved between them in ones and twos, cloaked, hooded, masked, haggling in low voices over tables laid with jars and bundles and things that moved inside…"
5"Stand at the edge of the platform in the light, surrounded by a hundred witnesses who sold enchanted contraband to whatever walked through London's dark, and wa…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences17
tagDensity0.059
leniency0.118
rawRatio0
effectiveRatio0
94.7022%