Run: 2026-09-01-01M1EM3F4AZ35Q84TJ2MCTXN3X

Run Details

Duration:
43.0s
Cost:
$0.008471
Provider:
DeepInfra

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
Quinn pressed her leather-gloved thumb against the cold brass casing of the compass. The verdigris flaked under her nail like old copper secrets, and the needle had frozen, not north, but toward the crumbling tiled wall where the tunnel bent into shadow. She crouched beside the corpse, and the damp smell of the abandoned station beneath Camden clung to her. It was not the scent of a normal crime scene. It was older, sharper, laced with ozone and forbidden chalk. “The body is intact,” Quinn said. Eva stood beside her, her curly red hair catching the dim bulb light like flame. She tucked it behind her left ear with a nervous flick, a habit that spoke volumes. Round glasses slid down her freckled nose, and her worn leather satchel, stuffed with books, leaned against her hip like a shield. “The sigils etched into the face match the third-order summoning scripts in the British Museum’s restricted archives,” Eva said. “This isn’t murder. It’s extraction.” Quinn did not look away from the victim. The dead man wore a tailored navy suit, no sign of struggle, yet his throat was open in a clean, impossible arc. No blood soaked the platform. No drag marks scarred the concrete. Only a thin copper line traced his jaw, and his smile seemed arranged, not natural, but performed. Quinn straightened. Her worn leather watch creaked on her left wrist, weathered by years of midnight chases through London streets that sometimes led nowhere good. Military precision governed her movements, but her brown eyes betrayed a deeper tremor, the kind that haunted a detective who had lost DS Morris three years ago to a case with supernatural origins she still did not fully grasp. “Extraction,” Quinn said. “That’s your interpretation, Eva.” “It’s the only one that fits,” Eva replied. “The Veil Market sits beneath Camden now. It moves every full moon. Someone used a bone token to enter this station, and this instrument points to a rift.” Quinn lifted the compass. It felt heavier than logic allowed. Its face was etched with protective sigils, a craft of a Shade artisan, and its patina spoke of ages she refused to acknowledge. The needle trembled, not with magnetism, but with something hungrier, something older. “A body can tell its own story,” Quinn said, “if you listen closely enough.” Eva adjusted her glasses. “He didn’t struggle because he was led.” “Led where?” Quinn’s sharp jaw tightened. Eva pointed to the footprints. Several pairs, all polished leather, yet the dust told a different tale. The brass particles were fresh. Verdigris from the compass? Or from the tunnel walls? The station had been abandoned for years, yet the air smelled of old water and alchemical residue. “The dead man walked in,” Eva said, her voice low, “or was guided. The evidence doesn’t add up because it isn’t meant to. The killer left this compass behind. Not as a mistake. As a map.” Quinn crouched again. She examined the wound more closely. The cut was surgical, precise, and the absence of blood spoke of a ritual, not rage. She found a folded card in the victim’s pocket, brittle with age. It bore the crest of a private alchemical society, one Quinn had filed away in her own notes, one she suspected linked to the clique. “I’ve seen enough crime scenes,” Quinn said, her voice hard, “to know when the rules have changed.” Eva tucked her hair behind her ear once more. “You’re not here for the rules, Harlow. You’re here because the clique made an error. They left the compass. And the compass points to the entrance.” Quinn stood. The tunnel stretched ahead, damp and dark, with rusted rails that had once carried thousands of Londoners through the city. Now it carried something else. She felt the weight of her past like a shadow beside her, DS Morris’s absence a silence she could not fill. “Map to where?” Quinn asked. Eva pointed to the wall. The tiles were cracked, and behind them, the brickwork had been disturbed. A faint glow, almost invisible, pulsed behind the fractures, casting a sickly green hue across Eva’s round spectacles. Quinn raised the compass. The needle swung, then locked, trembling toward the wall. The sigils seemed to burn, or perhaps that was only the tunnel’s strange electricity, the pull of something hidden. “I don’t deal in portals,” Quinn said. “You deal in bodies that shouldn’t be here,” Eva replied. “This is one of them.” A sound came from the wall. Not a door, but a breath, long and wet. The air thickened, and the brass casing of the compass grew warm in Quinn’s hand. The needle spiked, sharp and certain, toward the pulsating brick. Quynn pulled her leather watch closer to her chest, not to check the time, for time had become fluid in places like this, but to feel the worn strap against her skin, a reminder of the world that existed above ground, of the police station and the files and the partner she still mourned. “The evidence didn’t add up because the evidence is a lie,” Quinn said, her voice steady, military, precise. “The body was staged after the fact. The real scene is behind that wall.” Eva stepped beside her, her books rustling in the satchel. “Can you see it now? The market is a doorway, not a location. The clique trades information and alchemical substances, but they also trade access. They brought him here to hide the truth.” Quinn moved closer. The brickwork groaned, dust fell in a flip-flop of debris, tick-tock like a clock running out, and the wall split. A cold draft hit Quinn’s face, smelling of ancient water and forbidden chemistry. The compass needle shivered, then pointed straight at her. Quinn raised her hand, not to block the opening, but to ready herself. She had lost one partner to the unknown. She would not lose herself to the same darkness without seeing it clearly. “There is a rift,” Quinn said, not as a question. “There is,” Eva confirmed. “And if it’s open, then whatever came through used this station as a doorway. The body isn’t the crime. The crime is what left through that gap.” Behind them, the dead man’s hand moved. Not with muscle, but with purpose. The copper line along his jaw began to glow, bright and sick, and his smile widened into a silent scream. “Move,” Quinn ordered. Eva grabbed her satchel, her hair flying, and they ran. The tunnel echoed with their footsteps, a sharp rhythm against the stone. But Quinn glanced back once, not at Eva, but at the compass, which had fallen from her grip. The needle spun wild, then settled, pointing not to the rift, but to the body that had risen, following, relentless. Quinn did not hesitate. She pulled her worn leather watch free and clutched it, the strap biting into her palm, and she ran deeper into the darkness, knowing that the clique’s mistake was her only lead, and that lead pointed to a truth she was finally, horribly, ready to see.
created_at"2026-09-01T13:56:24.346Z" 9/1/2026, 1:56:24 PM
model"thinkingmachines/inkling-small-20260730"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency841
moderation_latency(null)
generation_time42905
tokens_prompt4492
tokens_completion6419
native_tokens_prompt4164
native_tokens_completion5498
native_tokens_completion_images(null)
native_tokens_reasoning4633
native_tokens_cached0
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)
usage0.0084714
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788270984-fsLoyD7obrnarzPRO3bq"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788270984-SVv7YHQc7C9GobS7vJTK"
upstream_id"chatcmpl-RBeXTrCfBMA5OhKnKwfMUSFa"
provider_responses
0
endpoint_id"d1d9657b-3c3a-49b5-8f81-33204e7c71c3"
id"chatcmpl-RBeXTrCfBMA5OhKnKwfMUSFa"
is_byokfalse
latency636
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"DeepInfra"
status200
total_cost0.0084714
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags15
adverbTagCount0
adverbTags(empty)
dialogueSentences24
tagDensity0.625
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1179
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)
57.59% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1179
totalAiIsms10
found
0
word"etched"
count2
1
word"traced"
count1
2
word"trembled"
count1
3
word"weight"
count1
4
word"silence"
count1
5
word"pulsed"
count1
6
word"reminder"
count1
7
word"echoed"
count1
8
word"footsteps"
count1
highlights
0"etched"
1"traced"
2"trembled"
3"weight"
4"silence"
5"pulsed"
6"reminder"
7"echoed"
8"footsteps"
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
narrationSentences80
matches(empty)
53.57% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount2
narrationSentences80
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences89
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen54
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1179
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
18.28% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount911
uniqueNames7
maxNameDensity2.63
worstName"Quinn"
maxWindowNameDensity4
worstWindowName"Quinn"
discoveredNames
Camden1
Eva14
Quinn24
London1
Morris2
Shade1
Londoners1
persons
0"Camden"
1"Eva"
2"Quinn"
3"Morris"
places
0"London"
globalScore0.183
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences52
glossingSentenceCount1
matches
0"seemed arranged not natural, but performed"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches9
per1kWords7.634
wordCount1179
matches
0"not north, but toward the crumbling tiled wall"
1"not natural, but performed"
2"not with magnetism, but with something hungrier, something older"
3"Not a door, but a breath, long"
4"not to check the time, for time had become fluid in places like this, but to feel the worn strap against her skin, a reminder of the w"
5"not to block the opening, but to ready herself"
6"Not with muscle, but with purpose"
7"not at Eva, but at the compass"
8"not to the rift, but to the body"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences89
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs35
mean33.69
std19.95
cv0.592
sampleLengths
080
16
253
324
458
564
67
736
845
914
1011
116
1248
1336
1462
1517
1635
1748
185
1935
2032
217
2215
2340
2454
2532
2643
2745
2834
2910
3031
3133
323
3360
3450
92.11% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences80
matches
0"was etched"
1"been abandoned"
2"been disturbed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs152
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences89
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount914
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.02954048140043764
lyAdverbCount10
lyAdverbRatio0.010940919037199124
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences89
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences89
mean13.25
std9.87
cv0.745
sampleLengths
013
129
218
310
410
56
615
716
822
919
105
118
1222
135
146
1517
162
1723
1839
193
204
218
2228
234
246
2523
2612
2714
284
297
306
315
3212
335
344
355
3617
3736
383
396
4016
4112
4225
4317
449
4526
462
4720
485
4921
50.94% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3595505617977528
totalSentences89
uniqueOpeners32
49.02% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences68
matches
0"Only a thin copper line"
ratio0.015
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount14
totalSentences68
matches
0"She crouched beside the corpse,"
1"It was not the scent"
2"It was older, sharper, laced"
3"She tucked it behind her"
4"Her worn leather watch creaked"
5"It felt heavier than logic"
6"Its face was etched with"
7"She examined the wound more"
8"She found a folded card"
9"It bore the crest of"
10"She felt the weight of"
11"She had lost one partner"
12"She would not lose herself"
13"She pulled her worn leather"
ratio0.206
33.53% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount58
totalSentences68
matches
0"Quinn pressed her leather-gloved thumb"
1"The verdigris flaked under her"
2"She crouched beside the corpse,"
3"It was not the scent"
4"It was older, sharper, laced"
5"Eva stood beside her, her"
6"She tucked it behind her"
7"Quinn did not look away"
8"The dead man wore a"
9"Her worn leather watch creaked"
10"Military precision governed her movements,"
11"Quinn lifted the compass."
12"It felt heavier than logic"
13"Its face was etched with"
14"The needle trembled, not with"
15"Eva adjusted her glasses."
16"Quinn’s sharp jaw tightened"
17"Eva pointed to the footprints."
18"Several pairs, all polished leather,"
19"The brass particles were fresh."
ratio0.853
73.53% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences68
matches
0"Now it carried something else."
ratio0.015
48.87% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount5
matches
0"She tucked it behind her left ear with a nervous flick, a habit that spoke volumes."
1"Military precision governed her movements, but her brown eyes betrayed a deeper tremor, the kind that haunted a detective who had lost DS Morris three years ago…"
2"The tunnel stretched ahead, damp and dark, with rusted rails that had once carried thousands of Londoners through the city."
3"Quynn pulled her leather watch closer to her chest, not to check the time, for time had become fluid in places like this, but to feel the worn strap against her…"
4"The needle spun wild, then settled, pointing not to the rift, but to the body that had risen, following, relentless."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount3
matches
0"Eva said, her voice low,"
1"Quinn said, her voice hard,"
2"Quinn said, her voice steady, military, precise"
78.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount2
fancyTags
0"Eva confirmed (confirm)"
1"Quinn ordered (order)"
dialogueSentences24
tagDensity0.583
leniency1
rawRatio0.143
effectiveRatio0.143
79.3668%