Run: 2026-07-25-01KYD7QN93J703W5REM0058GNH

Run Details

Duration:
1m 13s
Cost:
$0.028919
Provider:
Moonshot AI

Model input

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

Model response

AI
The body lay between the rails, and that was the first thing wrong with it. Quinn ducked under the barrier tape and stepped onto the track bed, her torch cutting through the dust hanging in the tunnel air. Camden Deep had been closed since 1941, a wartime station sealed and forgotten, which raised the obvious question of what a City banker in a three-piece suit was doing down here with his throat opened. "You can smell that from the platform." DC Barry Iles stood beside the tent the forensics team had half erected, his notebook out, his face set in the expression he wore when he'd already solved something. "Copper. Lots of it. Your basic knife job, guv. Victim's name is Gerald Prewitt, investment something. Wallet was on him, cards intact, watch gone. Rolex, apparently. Wife confirmed." "Watch gone, wallet intact." "Robbery gone wrong." Iles gestured at the tunnel mouth behind them. "Kids have been breaking in here for years. Urban explorers, that lot. Prewitt must've wandered down on a dare, or met someone. Wrong place, wrong blade." Quinn crouched beside the body. The blood pooling under Prewitt's head had dried wrong. Not tacky, not brown. Dry, flaking, dark as old brick. She'd seen enough scenes to know blood kept its colour for hours in the cool underground. This looked days old. "What time did the wife report him missing?" "Last night. Elevenish." "So he's been dead, what, under twenty-four hours?" She pointed her torch at the flaked pool. "That's not yesterday's blood." Iles leaned over her shoulder. "Underground dries things out. Different conditions down here." "It's damp, Barry. There's water dripping off the ceiling." She moved the beam along the body. The suit was immaculate. Pristine, even. No dust on the knees, no grime on the soles of the brogues. A man didn't walk a quarter mile through an abandoned Tube station, across gravel and pigeon muck and a century of filth, and arrive with polished shoes. "Body was carried," she said. "Carried. Down two maintenance ladders and along a live-ish tunnel." Iles blew air through his nose. "Who'd bother?" "Someone who wanted him found here. Or someone for whom here was convenient." She stood and turned a slow circle with the torch. The platform edge was crumbling tile, adverts for Bovril still clinging to the curved wall in faded fragments. Old news. Her light snagged on something newer, chalk marks on the platform wall. A series of symbols, angular, deliberate, drawn at adult shoulder height. "Greek," she murmured. "Gang tags." Iles was already losing interest. "Tunnel kids." "Tunnel kids with a working knowledge of Etruscan?" She photographed the marks with her phone. "That one's not a tag. That's a boundary marker." "A what?" She didn't answer. She wasn't sure where the word had come from. Lately, words came to her like that, unbidden, correct. Ever since Morris. The body's left hand drew her eye next. The fingers were curled, stiff, around nothing. She lifted the sleeve gently. The wrist, where the missing Rolex should have sat, bore no tan line. Prewitt had never worn a watch on that wrist. She checked the other one. There it was, a pale band of skin, faint but clear. "Barry. The Rolex. Which wrist does a right-handed man wear his watch on?" "Left. Usually." "Prewitt wore his on the right." She showed him the tan line. "So whoever told the wife the watch was taken, and whoever she saw wearing it, they've staged the wrong wrist. The watch was taken off his right arm, where it always was, but the killer told the wife it was stolen as if it were an afterthought. Which means the watch mattered. It wasn't loot. It was the point." Iles frowned at the corpse. "Or Prewitt wore it on the right because he was odd." "Bankers are creatures of habit. Look at the parting in his hair, the fold of his pocket square. This man had a system for his cufflinks." Quinn rose, knees cracking, and walked the track bed in widening arcs. The gravel told a story if you let it. Foot traffic, recent, lots of it. Not one set. Dozens. The stones were scuffed and displaced in overlapping patterns, some leading deeper into the tunnel, some towards it, as though a queue had passed through. A queue of people with somewhere to be. "Barry, when did kids last break in here?" "Couple of months, I think. BTP moved them on." "So why is the dust on that maintenance door disturbed from the inside?" The door sat recessed in the tunnel wall, thirty feet past the body, paint peeling, padlock rusted solid. Rusted everywhere except the shackle, which gleamed. Fresh metal, freshly oiled. Quinn gripped it and pulled. The lock sprang open in her hand. "Guv, wait, we should call it-" She pulled the door. Beyond it was not a service cupboard. Stairs descended, new concrete against old brick, lit from below by a string of bare bulbs wired with professional care. The air that rose to meet her smelled of wax, dried herbs, and underneath it, something mineral and cold, like a stone held in the mouth. A market's worth of smells, layered and recent. "What the hell is that?" Iles had his radio halfway to his mouth. "Put it down, Barry." "Guv-" "Who ran power into a sealed station? Who ran it past a corpse?" She started down the stairs. "And who chalked Etruscan ward marks on the platform to keep something in, or something out?" The stairwell opened onto a lower hall she hadn't known existed. Stalls stood in rows, abandoned mid-trade. A brass scale still held a scattering of black powder on one pan. Folded cloth covered tables shaped for wares. On the nearest stall, arranged with a shopkeeper's pride, sat a row of small brass compasses, each face etched with marks that matched the chalk on the platform above. One needle spun as she approached. It didn't point north. It pointed at her. She didn't pick it up. She noted the verdigris on the casing, the craftsmanship, the price tag written in a hand she'd seen before, on evidence bags, three years cold. Morris's handwriting. She stared at it until her eyes watered, then looked away before Barry could see. At the hall's far end, a second exit yawned, and on the floor before it, half under a fallen banner, lay a wristwatch. Gold. Rolex. Quinn crouched without touching it. The crystal was cracked. The hands had stopped at 3:17, and dried blood, fresh blood this time, brown and honest, clotted the links of the band. "Body up top's a decoy," she said quietly. "Prewitt didn't die up there. He died down here. Someone moved him, staged him, kept the real scene clean." "Why stage a robbery?" "Because a robbery makes us look at street kids and drifters. It makes us look anywhere but at a market selling things that shouldn't exist, under a station that shouldn't be open." She straightened. "Seal the tunnel. Nobody comes down here without me. Nobody touches the watch." Her radio crackled before Iles could answer. Dispatch, voice tight. Another body, they said. Found at a closed station under Holborn. Same wounds. Same dried, ancient-looking blood. Quinn looked at the compass row. Every needle had swung to point past her now, east, towards Holborn. "Barry," she said. "You were right about one thing." "What's that?" "The robbery theory." She clicked off her torch, and the market lights flickered, one string at a time, going dark in sequence, as though something were moving along the wires. "Something was definitely taken." Behind the far stalls, in the black between bulbs, something moved with it.
created_at"2026-07-25T18:13:54.607Z" 7/25/2026, 6:13:54 PM
model"moonshotai/kimi-k3-20260715"
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generation_time72722
tokens_prompt4492
tokens_completion1971
native_tokens_prompt4271
native_tokens_completion1811
native_tokens_completion_images(null)
native_tokens_reasoning57
native_tokens_cached4096
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num_input_audio_prompt(null)
num_media_completion0
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount1
adverbTags
0"she said quietly [quietly]"
dialogueSentences46
tagDensity0.304
leniency0.609
rawRatio0.071
effectiveRatio0.043
96.11% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1287
totalAiIsmAdverbs1
found
0
adverb"gently"
count1
highlights
0"gently"
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)
84.46% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1287
totalAiIsms4
found
0
word"pristine"
count1
1
word"etched"
count1
2
word"crystal"
count1
3
word"flickered"
count1
highlights
0"pristine"
1"etched"
2"crystal"
3"flickered"
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
narrationSentences91
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences91
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences122
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen59
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1287
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions1
matches
0"Another body, they said."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount846
uniqueNames11
maxNameDensity0.95
worstName"Iles"
maxWindowNameDensity2
worstWindowName"Iles"
discoveredNames
Deep1
City1
Barry2
Iles8
Quinn6
Prewitt2
Tube1
Bovril1
Morris2
Rolex2
Holborn2
persons
0"Deep"
1"Barry"
2"Iles"
3"Quinn"
4"Prewitt"
5"Bovril"
6"Morris"
7"Rolex"
places
0"Holborn"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences55
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1287
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences122
matches
0"like that, unbidden"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean25.24
std21.92
cv0.869
sampleLengths
015
158
264
34
437
544
68
73
820
913
109
1153
125
1318
1413
1553
163
179
1824
192
2024
2158
2213
232
2471
2516
2626
2764
288
299
3013
3141
326
334
3461
3513
364
371
3834
3980
4047
4156
4227
434
4447
4527
4618
479
482
4934
93.70% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences91
matches
0"been closed"
1"were curled"
2"were scuffed"
17.35% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs146
matches
0"was doing"
1"was crumbling"
2"was already losing"
3"were moving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences122
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount849
adjectiveStacks1
stackExamples
0"Same dried, ancient-looking"
adverbCount13
adverbRatio0.015312131919905771
lyAdverbCount4
lyAdverbRatio0.004711425206124852
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences122
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences122
mean10.55
std9.16
cv0.869
sampleLengths
015
123
235
336
428
54
611
726
85
99
104
116
1216
134
148
153
1616
174
185
198
209
217
224
232
2413
2527
265
2716
282
2913
3010
3118
322
3312
3411
353
367
372
3815
399
402
413
429
439
443
458
467
475
4813
499
85.79% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.5491803278688525
totalSentences122
uniqueOpeners67
41.67% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences80
matches
0"Ever since Morris."
ratio0.013
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount21
totalSentences80
matches
0"She'd seen enough scenes to"
1"She pointed her torch at"
2"She moved the beam along"
3"She stood and turned a"
4"Her light snagged on something"
5"She photographed the marks with"
6"She didn't answer."
7"She wasn't sure where the"
8"She lifted the sleeve gently."
9"She checked the other one."
10"She showed him the tan"
11"She pulled the door."
12"She started down the stairs"
13"It didn't point north."
14"It pointed at her."
15"She didn't pick it up."
16"She noted the verdigris on"
17"She stared at it until"
18"she said quietly"
19"Her radio crackled before Iles"
ratio0.263
72.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount62
totalSentences80
matches
0"The body lay between the"
1"Quinn ducked under the barrier"
2"Camden Deep had been closed"
3"DC Barry Iles stood beside"
4"Iles gestured at the tunnel"
5"Quinn crouched beside the body."
6"The blood pooling under Prewitt's"
7"She'd seen enough scenes to"
8"This looked days old."
9"She pointed her torch at"
10"Iles leaned over her shoulder."
11"She moved the beam along"
12"The suit was immaculate."
13"A man didn't walk a"
14"Iles blew air through his"
15"She stood and turned a"
16"The platform edge was crumbling"
17"Her light snagged on something"
18"A series of symbols, angular,"
19"Iles was already losing interest"
ratio0.775
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences80
matches(empty)
ratio0
60.44% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences26
technicalSentenceCount3
matches
0"Quinn ducked under the barrier tape and stepped onto the track bed, her torch cutting through the dust hanging in the tunnel air."
1"The stones were scuffed and displaced in overlapping patterns, some leading deeper into the tunnel, some towards it, as though a queue had passed through."
2"On the nearest stall, arranged with a shopkeeper's pride, sat a row of small brass compasses, each face etched with marks that matched the chalk on the platform…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences46
tagDensity0.087
leniency0.174
rawRatio0.25
effectiveRatio0.043
88.2007%