Run: 2026-09-02-01M1GRJ515D667AQT8CCF21WQ9

Run Details

Duration:
13m 35s
Cost:
$0.126136
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
Tomás Herrera ran like a man late for a shift, not a man fleeing the police. That bothered Quinn more than the bag did. The doctor's bag swung from his fist, clinking, glass on glass, and once, something inside it knocked back. Three weeks she'd given the clique. Three weeks of cold coffees outside the Raven's Nest, of photographs that proved nothing, of witnesses who found amnesia somewhere between the pavement and the interview room. Tonight Herrera had walked into an all-night chemist on Camden Road with a light bag and come out five minutes later with a heavy one. She'd stepped under the streetlamp and said his name. He'd run. "Herrera! Police! Stop!" The rain had been at it for an hour, the patient London sort, and the High Street wore it like grease, kebab-sign pink bleeding into taxi amber across the wet tarmac. Herrera went through it all without looking, curls plastered flat, sleeves shoved to the elbows, the old scar on his left forearm catching the streetlight. A medallion swung free of his collar and threw green neon back at her. Saint Christopher, patron of travellers. Somebody was optimistic. She ran on an army rhythm: short steps, arms low, breath counted out in fours. At forty-one she could hold that pace to Edinburgh if a case warranted it. This one warranted it. Three years ago she'd have had a partner cutting him off on the parallel street. She ran faster instead. He glanced back once. No fear in his face. Pity, if anything. "Go home, Detective! Tonight of all nights, go home!" Of course he knew her. She'd laid her warrant card on the bar of the Raven's Nest eleven days ago and watched the room go quiet around it. Guilty men zigzagged. Herrera ran a line, sure as a tube train on a rail, and that was worse than any weapon. A hen party broke around him outside the late bar, and one of the hens cheered him on. A busker packing up his guitar saw where Herrera was headed and moved his case out of the way, careful as a man clearing the road for a funeral. Herrera crossed Camden Parkway against a night bus, trusting the world to brake for him. It did. Quinn wasn't the trusting kind. She lost two seconds on the kerb and a strip of her temper with them. The lock came next, its footbridge three planks wide over water swollen black with rain. Herrera crossed it in four strides. Quinn crossed it in five and kept her eyes off the canal, because something pale turned beneath the surface down there, keeping pace, and she'd decided years ago which things she looked at and which things she drank about. He cut into the Stables. Shutters down, dead neon, the yard empty but for rain. Arches on arches, brick ribs black with a century of steam, and the great bronze horse rearing over the cobbles, muzzle streaked dark. Under it, Herrera's boot skidded on the wet flagstones. He caught a pillar one-handed, swore in Spanish, and kept going. Something skipped from his jacket pocket and rolled. She scooped it off the stones on the move. Evidence first; she was built that way. Bone, the colour of old piano keys, carved with fine rings, and warm. Warm like a held hand. "¡Vete!" He didn't look back again. Her Spanish came from arrest forms, but she knew that one. The far arch was sealed with hoarding, chipboard behind scaffold, a yellow sign curling at the corners. DANGER. LIVE RAILS. NO ADMITTANCE. Herrera went through a seam in the boards as if a door had been left open for him. Quinn reached the seam a breath later, rain running off her cropped hair and into her collar. Beyond it: dark. The dark smelled of wet stone, and under the stone, something warmer. Myrrh. Copper. Candle smoke. She clicked her torch on and went through. Steps went down, then kept going down. A landing, a turn, another flight. Condensation slicked the treads, moss had taken the corners in soft green cushions, and her torch crossed glazed tiles where half a roundel clung to the wall, its red and blue faded to the colour of strong tea. A dead escalator stood at the bottom, spine rusted solid. From the tunnels beyond came water, patient, drip-drip, like a nurse counting a pulse. "Control, 417 Quinn. Foot pursuit, Camden Stables. Requesting units to the arches." Static. She keyed the channel twice more and got the same chewed hiss, as if something between her and the sky was eating the signal. Fine. Down here, backup was a bedtime story. Heat found the stairwell on the last flight. Myrrh thickened, hot copper arrived with candle smoke, and under it all ran a murmur, a market doing business somewhere below the world. Herrera's wet footprints shone on the treads, fresh as paint, and pointed the way. The tunnel bent twice and ended at a door. Black iron, riveted, old as the station around it. A small brass grille at eye height, a slot beneath it, and no handle anywhere. Her torch found fine scratches around the slot, thousands of them, the tally of a door fed ten thousand times. "Token." The voice came through the grille like gravel poured from a boot. Her thumb found the worn leather watch on her left wrist, shaped to her by years. Two-fourteen in the morning. The last time she'd gone underground after a runner, Morris had been beside her, laughing at her pace. She'd come up alone. The file on the rest went grey no matter how many times she read it. Up there, she had three weeks of nothing and a superintendent who wanted her hobby horse put down. Down here, she had a warm bone, a door, and a suspect twenty metres ahead of her. It wasn't much of a choice. Her thumb ran the carved rings once, and she fed the token into the slot. A pause followed, long enough to have weight. "Herrera's spare." "Open the door." "He never brings guests." "I'm not a guest, I'm police, and he's wanted. Open it." "The token makes you his guest. The Market honours the token." "Then honour it fast." Four bolts drew back, one after another. The door cracked open on heat and light, and the murmur swelled into a wall of noise. "No refunds." Heat rolled over her, thick with myrrh and hot copper. Lantern light everywhere, and music with strings in it, more strings than she could count. The platform stretched away further than the street above allowed for, stalls packed along it under swinging lamps. Every rule she owned said impossible. She filed that under later and stepped through. Jars of milk teeth, priced by weight. A man selling bottled voices, each jar fogging when he tapped the glass. A money-changer counted coins that sighed when he stacked them. A butcher's counter laid with pale cuts of something that had too many ribs. The crowd moved between the stalls, hooded and barefoot, tall and squat, and some of the shapes between the shoulders didn't fit people at all. Then the noise died from the edges inward, like a wave pulled back off a beach. Heads turned along the stalls. One or two turned a fraction too far. A whisper travelled through the crowd, mouth to mouth. "Copper." "A copper in the Veil." Thirty metres off, Herrera had stopped dead at the platform's bend, bag hugged to his chest, curls drying at the edges. He looked at her the way people look at a crash happening. Then he came back through the crowd, hand out, palm up. "Give it to me." "It's evidence, Tomás." "It's a key." He stopped an arm's length away. Rain still ticked off her shoulders onto the tiles. "They read it as you came through. Name, debt, blood. You're in the ledger now, Detective, you and everything you are." "You're coming out with me either way." "There is no out. Not tonight. Not once the bell..." The iron door boomed shut behind her. Four bolts drove home, one after another, like knuckles cracking. The gravel voice spoke through the metal. "The Market holds its guests." Herrera closed his hand around the saint at his throat. "Madre de Dios." The crowd parted down the middle, unhurried, the way a field parts for wind. Somewhere deep in the stalls, a bell began to toll. It did not stop.
created_at"2026-09-02T09:52:48.689Z" 9/2/2026, 9:52:48 AM
model"z-ai/glm-5.3-20260816"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3142
moderation_latency(null)
generation_time814656
tokens_prompt4484
tokens_completion28770
native_tokens_prompt4200
native_tokens_completion27331
native_tokens_completion_images(null)
native_tokens_reasoning25512
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"
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usage0.1261364
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api_type"completions"
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provider_responses
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is_byokfalse
latency3142
model_permaslug"z-ai/glm-5.3-20260816"
provider_name"Z.AI"
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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)
wordCount1420
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)
85.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1420
totalAiIsms4
found
0
word"pulse"
count1
1
word"weight"
count2
2
word"whisper"
count1
highlights
0"pulse"
1"weight"
2"whisper"
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
narrationSentences113
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences113
filterMatches
0"watch"
1"look"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences135
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1420
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount1295
uniqueNames16
maxNameDensity0.93
worstName"Herrera"
maxWindowNameDensity2
worstWindowName"Herrera"
discoveredNames
Herrera12
Quinn4
Raven2
Nest2
Camden2
Road1
London1
High1
Street1
Christopher1
Edinburgh1
Parkway1
Stables1
Spanish2
Morris1
Three3
persons
0"Herrera"
1"Quinn"
2"Raven"
3"Christopher"
4"Morris"
places
0"Camden"
1"Road"
2"London"
3"High"
4"Street"
5"Edinburgh"
6"Stables"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount1
matches
0"something between her and the sky was eating th"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1420
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences135
matches
0"hold that pace"
1"built that way"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs58
mean24.48
std23.83
cv0.973
sampleLengths
042
167
22
33
478
552
612
79
828
922
1084
1160
1266
1334
141
1516
1640
1736
188
1975
2012
2133
2245
2353
241
2512
2657
2756
288
292
303
314
3211
3311
344
3524
362
3757
3869
3929
409
411
425
4344
444
453
463
4715
4821
497
92.84% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences113
matches
0"was headed"
1"was built"
2"was sealed"
3"been left"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs200
matches
0"was eating"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences135
ratio0.007
matches
0"Evidence first; she was built that way."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1302
adjectiveStacks0
stackExamples(empty)
adverbCount35
adverbRatio0.026881720430107527
lyAdverbCount1
lyAdverbRatio0.0007680491551459293
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences135
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences135
mean10.52
std7.62
cv0.725
sampleLengths
016
18
218
36
427
525
69
72
83
931
1025
1114
125
133
1415
1514
164
1715
184
194
205
213
229
235
2423
253
2619
2718
2829
2915
302
315
3215
3315
346
3539
365
3710
3823
399
4011
418
429
437
4413
455
461
475
4811
4917
74.57% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.4740740740740741
totalSentences135
uniqueOpeners64
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences103
matches
0"Of course he knew her."
1"Then the noise died from"
2"Then he came back through"
3"Somewhere deep in the stalls,"
ratio0.039
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount22
totalSentences103
matches
0"She'd stepped under the streetlamp"
1"She ran on an army"
2"She ran faster instead."
3"He glanced back once."
4"She'd laid her warrant card"
5"She lost two seconds on"
6"He cut into the Stables."
7"He caught a pillar one-handed,"
8"She scooped it off the"
9"He didn't look back again."
10"Her Spanish came from arrest"
11"She clicked her torch on"
12"She keyed the channel twice"
13"Her torch found fine scratches"
14"Her thumb found the worn"
15"She'd come up alone."
16"It wasn't much of a"
17"Her thumb ran the carved"
18"She filed that under later"
19"He looked at her the"
ratio0.214
91.07% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount76
totalSentences103
matches
0"Tomás Herrera ran like a"
1"That bothered Quinn more than"
2"The doctor's bag swung from"
3"Tonight Herrera had walked into"
4"She'd stepped under the streetlamp"
5"The rain had been at"
6"Herrera went through it all"
7"A medallion swung free of"
8"Saint Christopher, patron of travellers."
9"Somebody was optimistic."
10"She ran on an army"
11"This one warranted it."
12"She ran faster instead."
13"He glanced back once."
14"She'd laid her warrant card"
15"Herrera ran a line, sure"
16"A hen party broke around"
17"A busker packing up his"
18"Herrera crossed Camden Parkway against"
19"Quinn wasn't the trusting kind."
ratio0.738
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences103
matches(empty)
ratio0
93.60% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount4
matches
0"Three weeks of cold coffees outside the Raven's Nest, of photographs that proved nothing, of witnesses who found amnesia somewhere between the pavement and the …"
1"She keyed the channel twice more and got the same chewed hiss, as if something between her and the sky was eating the signal."
2"A money-changer counted coins that sighed when he stacked them."
3"A butcher's counter laid with pale cuts of something that had too many ribs."
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
94.5997%