Run: 2026-09-01-01M1EPDBGRMREDDWHTBFVC3X4B

Run Details

Duration:
1m 45s
Cost:
$0.010316
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 crouched beside the third rail, her leather watch ticking tick-tock against her left wrist as she turned the small brass compass in her gloved hands. The casing wore a thick patina of verdigris, its face etched with protective sigils that gleamed dully under a single flickering sodium bulb. The needle did not seek north. It trembled, pointing toward the tiled wall at the tunnel's far end, where hairline cracks spidered through ceramic that had not cracked when Quinn arrived. She lifted her eyes to the dead man's face, brown eyes devoid of expression, salt-and-pepper hair matted with blood. He had been arranged with theatrical precision, but something about his posture felt wrong, staged by a hand that knew how police thought. Eva Kowalski stood beside her, green eyes narrow behind round glasses, curly red hair catching stray light like thin copper wire. She tucked a strand behind her left ear, the nervous habit flicking like a metronome, and pulled her worn leather satchel closer. "The sigils on his sternum match the Shade workshop patterns I catalogued at the British Museum's restricted archives," Eva said. "This is a market execution, Quinn. Not a murder scene. The Veil Market hides beneath Camden, and this station is its current realm. He carried no bone token because he entered as merchandise." Quinn didn't look up. She pressed her palm against the body’s collar, feeling the unnatural coolness of skin that had been dead long enough for rigor to settle, yet not long enough for the blood to clot in the sullen way it should have. "Your archives describe rituals," Quinn said. "This body describes a lie." The abandoned Tube station beneath Camden yawned around them, its arches swallowed by darkness, the air thick with ozone and old copper, the scent of recent supernatural transit and something sharper, something human. No bone token lay in the entryway, no ledger of enchanted goods cluttered the platform, only this single corpse arranged like a warning. The hidden black market that sold banned alchemical substances and information had moved to this disused realm under the full moon's pull, yet here, in its very heart, the evidence spoke of fabrication rather than trade. Quinn moved to the wall, her sharp jaw tight, her military precision evident in every measured step. She traced the hairline fractures with her gloved finger, finding fresh mortar dust mixed with older grime. "If he entered legally, he had a token," Quinn said. "If he entered illegally, someone smuggled him through the old service tunnel. But neither explains the wounds." Eva stepped closer, her freckled complexion pale beneath the harsh light, her satchel heavy with books. "Every ancient rite starts with a display. The wounds are ceremonial." "Ceremonial wounds have ritual angles," Quinn replied. She crouched again, her voice low, her brown eyes scanning the floor. "These are defensive angles. The blood spatter proves he was killed at the top of these stairs and dragged down. The sigils were carved post-mortem with a dull blade, not a ritual knife, and this compass, your little market tool, points not to the market's rift beneath us but to this specific section of wall." Quinn turned the brass instrument, feeling its weight, the craft of a Shade artisan who had never intended it for murder. The needle trembled, trembling toward the crack. Eva's round glasses slipped down her freckled nose. "The needle detects supernatural rifts. If it points to the wall, there's a portal behind this ceramic." "Exactly." Quinn pulled a small torch from her belt, the beam cutting through gloom to illuminate the fractures. "But the market requires a bone token for entry. It's missing. And if this is a ritual killing, why stage the scene where police will find it? Why leave a market tool that points to a hidden doorway?" Quinn rose, her salt-and-pepper hair catching shadows, and moved toward the stairwell, her boots scraping against grit and dust. At the top step, she found the true evidence hidden in the debris: a single fresh footprint in the dust, the tread of a worn leather boot, and beside it a torn fragment of a blue police file folder, brittle and creased. Eva followed, her curly red hair brushing her shoulders, her eyes wide behind her round glasses as she clutched her satchel. "Quinn, that's not a rift. That's the stairwell." Quinn crouched at the step, her gloved fingers brushing the torn paper. She turned it toward the light. "DS Morris," she said, her voice steady but edged with something deeper, a grief three years old that had never fully healed. "My partner. His file was pulled last month, sealed for review. And now it's here, dropped beside a fresh boot print, beside this body, beside a market compass that points to a wall instead of a crime." Eva tucked her hair behind her left ear again, her breath shallow. "You think the clique used the market's reputation to bury a murder?" "I think someone knows we suspect them," Quinn said, her leather watch ticking tick-tock against her wrist like a warning. "I think they used the Veil Market's hidden location to stage a supernatural murder because supernatural deaths don't require conviction, don't require trials, don't leave witnesses who can speak. And I think this compass was planted to make us look at the wall instead of the stairs." Quinn moved slowly down the steps, examining the dust with the precision of a woman who had spent eighteen years in decorated service, who had learned that evidence never lied but interpretation always did. She found it at the base: a torn receipt tucked beneath the body, paper brittle and cheap, from a corner shop near Camden Lock, dated three days ago. Not supernatural. Not ritual. Human. "You're looking for ghosts in the stamps," Quinn said, turning to Eva with a sharp, decisive gaze. "The real story is in the geometry. The body was killed here, in this station, but the murder was planned elsewhere. The sigils are carved in the wrong direction for Shade rituals. The compass needle points to a sealed rift, but the boot print points to the stairs. The file points to my missing partner. And the missing bone token tells me whoever killed him didn't want anyone to enter the market through official channels." Eva's freckled complexion darkened. "You think this is about Morris?" Quinn didn't answer. She returned to the body and lifted the compass, holding it steady. The needle shifted, trembling now toward a fissure that had not existed when she arrived, a slender crack threading upward through the ceramic, pulsing with a warmth that had no business in a dead station. Quinn reached for Eva's arm, pulling her back from the stairwell, her military bearing suddenly protective, her brown eyes fixed on the wall. "Don't stand near the tiles. The needle moved." The tiles cracked. Not with a sound, but with a sudden, silent giving way, dust pluming in a grey cloud as the hidden portal tore open. The wall dissolved into darkness, and through that gap stepped a figure, backlit by an impossible void, a shadow that moved with the precision of a market trader who knew exactly which doors needed opening. Quinn raised her hand, her worn leather watch glinting in the dim light, her posture unyielding even as the darkness swelled. "No," she said, her voice cutting through the dust. "It's not a rift. It's a doorway. And someone just walked in through the same passage they used to bring him here." Eva gasped, her worn leather satchel clattering to the ground, books scattering across the platform, her green eyes wide behind her round glasses. "Quinn, that's not a market exit. That's an entrance." Quinn stepped forward, the brass compass heavy in her grip, the needle now fixed on the figure, on the darkness, on the truth that the evidence had never been wrong at all. It had been a map, drawn by someone who knew she would come, someone who knew she would examine the wall, and who had left her partner's file as an invitation to the real crime scene. "Then let's find out what they're selling," Quinn said, "before the Veil Market moves again, and this station becomes only a memory."
created_at"2026-09-01T14:36:45.479Z" 9/1/2026, 2:36:45 PM
model"thinkingmachines/inkling-small-20260730"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency328
moderation_latency(null)
generation_time104616
tokens_prompt4492
tokens_completion8283
native_tokens_prompt4164
native_tokens_completion7035
native_tokens_completion_images(null)
native_tokens_reasoning6226
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)
usage0.0103158
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788273405-8bLtwJsTK1db9w4RyX9n"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788273405-CBAVkbem86rd8YQwZ6UQ"
upstream_id"chatcmpl-RINeHIh8i7CPknOwBES6OVOI"
provider_responses
0
endpoint_id"faa5ad38-86c9-427e-b1cb-99c43bc4827b"
is_byokfalse
latency38
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"BaseTen"
status429
1
endpoint_id"d1d9657b-3c3a-49b5-8f81-33204e7c71c3"
id"chatcmpl-RINeHIh8i7CPknOwBES6OVOI"
is_byokfalse
latency80
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"DeepInfra"
status200
total_cost0.0103158
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
totalTags10
adverbTagCount0
adverbTags(empty)
dialogueSentences26
tagDensity0.385
leniency0.769
rawRatio0
effectiveRatio0
89.12% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1379
totalAiIsmAdverbs3
found
0
adverb"very"
count1
1
adverb"slowly"
count1
2
adverb"suddenly"
count1
highlights
0"very"
1"slowly"
2"suddenly"
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)
63.74% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1379
totalAiIsms10
found
0
word"etched"
count1
1
word"trembled"
count2
2
word"measured"
count1
3
word"traced"
count1
4
word"scanning"
count1
5
word"weight"
count1
6
word"gloom"
count1
7
word"warmth"
count1
8
word"glinting"
count1
highlights
0"etched"
1"trembled"
2"measured"
3"traced"
4"scanning"
5"weight"
6"gloom"
7"warmth"
8"glinting"
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
narrationSentences53
matches(empty)
61.99% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount0
narrationSentences53
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences69
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen75
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
totalAttributions14
unquotedAttributions0
matches(empty)
45.14% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount906
uniqueNames7
maxNameDensity2.1
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Quinn19
Kowalski1
Tube1
Camden2
Eva10
Shade1
Lock1
persons
0"Quinn"
1"Kowalski"
2"Eva"
3"Lock"
places(empty)
globalScore0.451
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences41
glossingSentenceCount0
matches(empty)
54.97% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.45
wordCount1379
matches
0"not to the market's rift beneath us but to this specific section of wall"
1"Not with a sound, but with a sudden, silent giving way, dust pluming in a grey clo"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences69
matches
0"learned that evidence"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs25
mean55.16
std29.17
cv0.529
sampleLengths
0122
196
255
392
461
527
674
728
825
956
1061
1129
1277
1324
1467
1567
1692
1710
1850
1931
203
2158
2252
2332
2490
98.64% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences53
matches
0"been arranged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs142
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences69
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount912
adjectiveStacks0
stackExamples(empty)
adverbCount19
adverbRatio0.020833333333333332
lyAdverbCount8
lyAdverbRatio0.008771929824561403
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences69
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences69
mean19.99
std13.73
cv0.687
sampleLengths
026
123
26
325
419
523
621
722
820
933
104
1140
126
135
1433
1523
1636
1717
1817
1910
2017
2116
2211
237
2412
2555
2621
277
288
2917
3018
3138
3219
3342
3421
358
3612
376
3822
3937
4012
4112
4220
4347
4434
4528
462
472
481
4917
49.28% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.34782608695652173
totalSentences69
uniqueOpeners24
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences45
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount13
totalSentences45
matches
0"It trembled, pointing toward the"
1"She lifted her eyes to"
2"He had been arranged with"
3"She tucked a strand behind"
4"She pressed her palm against"
5"She traced the hairline fractures"
6"She crouched again, her voice"
7"She turned it toward the"
8"she said, her voice steady"
9"She found it at the"
10"She returned to the body"
11"she said, her voice cutting"
12"It had been a map,"
ratio0.289
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount42
totalSentences45
matches
0"Quinn crouched beside the third"
1"The casing wore a thick"
2"The needle did not seek"
3"It trembled, pointing toward the"
4"She lifted her eyes to"
5"He had been arranged with"
6"Eva Kowalski stood beside her,"
7"She tucked a strand behind"
8"Quinn didn't look up."
9"She pressed her palm against"
10"The abandoned Tube station beneath"
11"The hidden black market that"
12"Quinn moved to the wall,"
13"She traced the hairline fractures"
14"Eva stepped closer, her freckled"
15"She crouched again, her voice"
16"Quinn turned the brass instrument,"
17"The needle trembled, trembling toward"
18"Eva's round glasses slipped down"
19"Quinn pulled a small torch"
ratio0.933
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences45
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences32
technicalSentenceCount11
matches
0"The casing wore a thick patina of verdigris, its face etched with protective sigils that gleamed dully under a single flickering sodium bulb."
1"He had been arranged with theatrical precision, but something about his posture felt wrong, staged by a hand that knew how police thought."
2"She pressed her palm against the body’s collar, feeling the unnatural coolness of skin that had been dead long enough for rigor to settle, yet not long enough f…"
3"The hidden black market that sold banned alchemical substances and information had moved to this disused realm under the full moon's pull, yet here, in its very…"
4"Quinn turned the brass instrument, feeling its weight, the craft of a Shade artisan who had never intended it for murder."
5"Quinn rose, her salt-and-pepper hair catching shadows, and moved toward the stairwell, her boots scraping against grit and dust."
6"Quinn moved slowly down the steps, examining the dust with the precision of a woman who had spent eighteen years in decorated service, who had learned that evid…"
7"The needle shifted, trembling now toward a fissure that had not existed when she arrived, a slender crack threading upward through the ceramic, pulsing with a w…"
8"Quinn reached for Eva's arm, pulling her back from the stairwell, her military bearing suddenly protective, her brown eyes fixed on the wall."
9"The wall dissolved into darkness, and through that gap stepped a figure, backlit by an impossible void, a shadow that moved with the precision of a market trade…"
10"Quinn raised her hand, her worn leather watch glinting in the dim light, her posture unyielding even as the darkness swelled."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount2
matches
0"Quinn pulled, the beam cutting through gloom to illuminate the fractures"
1"she said, her voice cutting through the dust"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount0
fancyTags(empty)
dialogueSentences26
tagDensity0.346
leniency0.692
rawRatio0
effectiveRatio0
76.2629%