Run: 2026-09-02-01M1GQ93GY64BV1BZ6QEJJ0X94

Run Details

Duration:
5m 54s
Cost:
$0.075224
Provider:
Z.AI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The runner took the canal railings in a single leap. Quinn hit the same railings hip-first, swore, hooked an elbow over wet iron and hauled herself over the top while the towpath tilted beneath her boots. Rain drove sideways. It flattened her salt-and-pepper crop to her skull and found every gap in her collar. Fifty metres ahead, a pale jacket glowed between the black struts of the humpbacked bridge, a bleached smudge moving through the dark. Two weeks she'd sat on the Raven's Nest for this. Two weeks of cold coffee under that green neon sign in Soho, logging faces through the fogged front window. Tonight, at half eleven, the courier had finally come out through the back alley with a leather satchel hugged to his ribs, and he'd walked a route north that doubled back on itself twice before unwinding towards Camden. She'd hung half a street behind him the whole way. He'd still made her at the Lock, four strides from the railings, and gone straight over without breaking pace. That was the detail that needled her, even flat out at a sprint with the canal throwing spray beside her. Civilians didn't check their shadows like that. These people were trained. "Sierra Three to control, foot pursuit, male, north along the Camden towpath. I need units." Static chewed the transmission into confetti. "Sierra Three, say again." The radio spat at her and went quiet. The runner took the steps to the high street three at a time. She took them in fours, nearly went down on the top one, caught the handrail, felt her shoulder wrench and kept moving. Ahead, a knot of club smokers scattered off the kebab shop's doorstep. "Police! Stop!" He didn't even turn his head. A woman with an umbrella shrieked about assault as he shouldered between her friends, and Quinn went through the gap he'd left a heartbeat later, breath tearing at her throat. Rule one of a foot chase: never follow a runner onto ground he knows better than you. Rule two: never follow him underground. He cut left off the high street, down a service road between shuttered shopfronts, and the city fell away behind him in layers. No taxis. No drunks. Just rain hammering corrugated metal and her own boots on wet cobbles, and the gap between them closing, because he was hunting for something now, head going left, right, left, and runners always slowed when they had to think. She caught his hood at the shoulders and rode him down onto the cobbles. They skidded. Her chin cracked off his shoulder blade. His elbow found her mouth. Something small and hard squirted loose from his jacket pocket and she stripped it away from him on pure instinct, a schoolyard steal, before he twisted under her and bucked her off into a puddle deep enough to keep fish in it. He scrambled upright. For one breath they faced each other in the rain. "Police officer. Stay down." Her mouth tasted of pennies. He ran anyway, satchel still strapped across his chest. She let him go ten metres while she got up, because the alternative was another dive on wet stone, and because her closed fist was aching. She opened it. A token sat on her palm. Bone, carved with a sigil she didn't recognise, small enough to bury in her fingers. It was warm. Not rain-warm. Skin-warm. Ahead, the runner reached the railway arches. She pushed back up to speed and followed, token closed in her fist, the worn leather of her watch strap soaked black against her wrist. Under the first arch, behind a hoarding plastered with faded gig posters, he started hammering on a rusted door with both fists. Chalk spirals crawled across the metal. She'd walked these arches on patrol as a probationer twenty years ago, and there had never been a door here. "Open up. It's Denny. It's Denny, open the gate!" A slot scraped back at head height. "Token." "I lost it. I was jumped, there's a copper on me, she's right there, please, open the gate, open it, open it." Silence. Long enough for Quinn to close half the distance. Then bolts, thrown inside the door one after another, quick and practised. The door cracked open a hand's width. Denny tore himself through the gap, and it began to swing shut behind him. Quinn stopped two metres out, dragging air, rain running off her jaw. Rules one and two, then. The radio was dead in her pocket, not even static now. Control had no idea where she was. No camera on this service road had worked since the Blitz. The people behind that door knew a copper had chased their courier halfway across Camden, and eighteen years of commendations plus a warrant card bought her nothing down here, in the dark, at the mouth of somewhere that appeared on no map she'd ever been briefed on. She could call it in. Post herself at the arches and wait for units that would take twenty minutes and arrive loud. By then this door would be painted over, or bricked, or simply gone, and so would whatever Denny carried in that satchel. The door wanted a token. She had a token. The maths was simple and awful. The last time she'd stood outside a door like this one, three years ago, Morris had still been breathing. She wedged her boot into the gap before it could close. The stairwell beyond smelled of rust and old incense. A staff staircase, from the look of it, service steps out of a station that had closed before she was born, descending in a tight brick spiral with a handrail furred in dust. Chalk on the wall at the third step read IRON STAYS ABOVE THIS LINE. A shelf had been cut into the brick beside it. Knives, a truncheon, a bicycle chain, string tags on each, tidy as an evidence locker. She kept her hand on her pistol grip and kept descending. The stairs let go of her somewhere below the level of the streets, and the cold changed character, went mineral, went old. Her ears popped at the bottom, which was its own problem, because she hadn't dropped far enough for that. Sound rose to meet her, a low human murmur cut through with music, a bass line she felt through her boot soles before she heard it. Copper threaded through the incense. Blood, or something near enough to it. Then the staircase opened out, and Quinn stopped dead on the top step. A dead Tube station breathed below her. The platform stretched away under a vaulted brick ceiling, ribs marching into the dark mouths of the tunnels at either end, and lantern light lay over everything, warm and amber, strung in loops along the walls. Stalls crowded the platform and spilled down onto the trackbed itself, tarpaulined stalls with chalkboard signs, and the chalkboards were being wiped and rewritten even as she watched. One of them, in letters a foot high: FULL MOON TONIGHT. MARKET MOVES AT MOONSET. A woman sold teeth, sorted into jars by shape. A man with tattooed forearms sold keys, hundreds of them, hung in rows and chiming when the crowd brushed past. A food stall steamed further along, and the meat turning on its spit was the wrong colour for any animal Quinn could put a name to. The crowd looked human, mostly. Mostly was doing a lot of work in that sentence. A tall figure near the tunnel mouth moved with joints that bent a half-beat late. A moth with dull silver wings patrolled the lanterns, and where it landed, the light dimmed. Denny's jacket flashed between the stalls, forty metres on. Well. Now she had a name. Quinn came down the last steps and folded herself into the crowd, hand at her hip, tracking the jacket. She passed the teeth, the keys, a chalkboard offering DREAMS, CUT TO LENGTH. Ahead, at a stall of glass vials and stoppered jars, a man she knew was counting change into a stallholder's palm. Olive-skinned, curly-haired, a Saint Christopher medallion resting against his open collar. The medic from the Nest. She had forty photographs of that medallion in a folder on her desk. "These are cracked, Marisol." "Cracked still steeps, Herrera. Half rate." "Half rate buys half a cure." He sorted vials into a case with a surgeon's hands. Then his eyes lifted over the stallholder's shoulder, found Quinn in the crowd, and everything mild about him switched off. The voice arrived at her ear in the same moment, warm and close as breath, though nobody stood within a metre of her. "Morris's watch." Quinn turned. Bodies, lanterns, steam. A child with an adult's eyes. Nobody looking at her. "He's been asking after it." She turned back the way she'd come. Turned again. Her hand had drawn the pistol halfway from the holster before she noticed, and she forced it back down. Far up the platform, the murmur began to die. Stall by stall, voice by voice, the hush rolled towards her through the lantern light, and heads came round as it passed, one after another after another, until the whole market had gone silent and every face was pointed her way. Somewhere behind her, high up the spiral stairs, the iron gate dropped with a boom that shook brick dust from the vaults. The warm voice returned, delighted now, right at her ear. "Run."
created_at"2026-09-02T09:30:23.883Z" 9/2/2026, 9:30:23 AM
model"z-ai/glm-5.3-20260816"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency961
moderation_latency(null)
generation_time353383
tokens_prompt4484
tokens_completion17043
native_tokens_prompt4200
native_tokens_completion15760
native_tokens_completion_images(null)
native_tokens_reasoning13733
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)
usage0.075224
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
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request_id"req-1788341423-NA2VSNvpgFCanSH8Gjmw"
session_id(null)
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api_type"completions"
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upstream_id"2026090217302411014e29def74e85"
provider_responses
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endpoint_id"db975786-e7f6-4838-9e56-3e0b77f1bdc2"
id"2026090217302411014e29def74e85"
is_byokfalse
latency961
model_permaslug"z-ai/glm-5.3-20260816"
provider_name"Z.AI"
status200
total_cost0.075224
cache_discount(null)
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provider_name"Z.AI"
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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
totalTags0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1581
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)
96.84% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1581
totalAiIsms1
found
0
word"silence"
count1
highlights
0"silence"
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
narrationSentences114
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences114
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences127
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1581
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount1500
uniqueNames13
maxNameDensity0.6
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Raven1
Nest2
Soho1
Camden2
Lock1
Quinn9
Blitz1
Denny3
Morris1
Tube1
Saint1
Christopher1
Ahead3
persons
0"Raven"
1"Quinn"
2"Denny"
3"Morris"
4"Saint"
5"Christopher"
places
0"Nest"
1"Soho"
2"Camden"
3"Lock"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1581
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences127
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs56
mean28.23
std27.79
cv0.984
sampleLengths
036
140
296
331
415
56
64
78
847
92
1036
1117
126
1366
1414
1556
1613
174
1814
1929
2027
217
2273
239
247
251
2622
2722
2821
2912
305
3176
3244
3315
3419
3511
3681
3711
3879
3913
4086
41101
4215
4382
444
456
466
4730
4823
492
96.03% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences114
matches
0"been briefed"
1"being wiped"
2"was pointed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs240
matches
0"was hunting"
1"was doing"
2"was counting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences127
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1508
adjectiveStacks0
stackExamples(empty)
adverbCount41
adverbRatio0.027188328912466843
lyAdverbCount6
lyAdverbRatio0.003978779840848806
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences127
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences127
mean12.45
std9.72
cv0.781
sampleLengths
010
126
23
315
422
510
619
738
810
919
1020
117
124
1315
146
154
168
1713
1822
1912
202
216
2230
2317
246
2523
262
272
2839
2914
302
317
325
3342
343
3510
364
375
389
3926
403
416
4215
433
442
451
467
4725
4822
496
74.28% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4881889763779528
totalSentences127
uniqueOpeners62
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences105
matches
0"Just rain hammering corrugated metal"
1"Then bolts, thrown inside the"
2"Then the staircase opened out,"
3"Mostly was doing a lot"
4"Then his eyes lifted over"
5"Somewhere behind her, high up"
ratio0.057
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences105
matches
0"It flattened her salt-and-pepper crop"
1"She'd hung half a street"
2"He'd still made her at"
3"She took them in fours,"
4"He didn't even turn his"
5"He cut left off the"
6"She caught his hood at"
7"Her chin cracked off his"
8"His elbow found her mouth."
9"He scrambled upright."
10"Her mouth tasted of pennies."
11"He ran anyway, satchel still"
12"She let him go ten"
13"She opened it."
14"It was warm."
15"She pushed back up to"
16"She'd walked these arches on"
17"She could call it in."
18"She had a token."
19"She wedged her boot into"
ratio0.257
83.81% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount79
totalSentences105
matches
0"The runner took the canal"
1"Quinn hit the same railings"
2"Rain drove sideways."
3"It flattened her salt-and-pepper crop"
4"Tonight, at half eleven, the"
5"She'd hung half a street"
6"He'd still made her at"
7"That was the detail that"
8"Civilians didn't check their shadows"
9"These people were trained."
10"Static chewed the transmission into"
11"The radio spat at her"
12"The runner took the steps"
13"She took them in fours,"
14"He didn't even turn his"
15"A woman with an umbrella"
16"He cut left off the"
17"She caught his hood at"
18"Her chin cracked off his"
19"His elbow found her mouth."
ratio0.752
47.62% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences105
matches
0"Now she had a name."
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences64
technicalSentenceCount1
matches
0"A staff staircase, from the look of it, service steps out of a station that had closed before she was born, descending in a tight brick spiral with a handrail f…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
96.6191%