Run: 2026-09-02-01M1GSD1KATBYM56QKCPTM1BKY

Run Details

Duration:
8m 47s
Cost:
$0.078767
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
Every streetlamp, the medallion flashed. Quinn ran on the flashes. Saint Christopher, patron saint of travellers, swung from the runner's neck on a thin chain and caught each sodium light in turn. As long as it glinted, she still had him. The rest of Camden smeared past in rain and neon, the burger vans shuttered, a night bus hissing along the kerb, and ahead of her Tomás Herrera cut through it all with a black medical bag in his fist. He ran well. That was what annoyed her. Three weeks she'd nursed flat lager in a back booth of the Raven's Nest, watching this one come and go beneath the green neon, and tonight, the moment he'd stepped out with the bag, he'd made her at the kerb and bolted. No panic in him. No wasted motion. He ran like a man who'd learned it in other cities, in narrower streets, with something behind him. "You're not dressed for where I'm going, Detective!" So he knew her face. That saved introductions. "Sierra Two-Two, foot pursuit," she said into her radio. "Single male, dark jacket, medical bag, heading south past the World's End." "Copy, Two-Two. Nearest units eight minutes out." Eight minutes. She'd counted worse, and buried the arithmetic. Herrera cut right at the Lock, over the footbridge, boots hammering the boards, and doubled into the Stables. Cobbles here, greasy with rain. The bronze horse loomed out of the dark with its mane frozen mid-toss, and he threaded the courtyard without breaking stride. For three seconds the shadows took him. Then Saint Christopher winked at her from under an arch, patient as any saint. A security guard in a high-vis jacket stepped into the open with both palms raised. Herrera put a hand on the man's shoulder and vaulted him like a fence. The guard sat down hard in a puddle and stayed there. "Met!" Quinn called as she passed. "Stay down!" Scaffolding rose at the north end, where a developer was stapling another glass box onto the skyline. Herrera ducked under the boards at full pace. His shoulder clipped a pole, metal rang, and a bright little sound bounced away off tin, a sound he didn't turn back for. His sleeve tore at the forearm, split along the pale seam of an old scar, and blood showed black at his wrist. Full marks for pain threshold. Nothing for caution. "He's entering the works yard, north end of the Stables." Static answered her. Then not even static. She went through the gap in the hoarding sideways, shoulders first. The yard held standing water black with diesel, a skip, a dead camera on a pole with its cable cut and coiled neat around the bracket. Coiled neat. Somebody did housekeeping here. Set into the hillside at the back, behind a leaning stack of pallets, stood a green steel blast door. Flaking white letters ghosted across it, CIVIL DEF, the rest surrendered to rust. A brass slot sat at chest height, polished bright. Polished, in a dead yard, behind locked hoarding, at one in the morning. Herrera reached it before she cleared the puddles. He didn't knock. He pressed something small to the brass, and the door swung inward without a sound. Warm light spilled out with a smell of incense and hot sugar, and then he was through, and the door closed, and her shoulder met solid steel. The impact rolled up through her teeth. Above the yard, the hoarding sheets flip-flopped on the wind, and the rain came down on the diesel-black water, which held it on its skin in beads, refusing it. She hammered the steel with the flat of her fist. "Police! Open up!" A slot scraped open at eye height. An inch of dark, nothing more. "Token," the dark said. A dry voice, like old paper learning to talk. "Met Police. This door opens now." "No paper." A pause, patient, the way you'd explain rain to a child. "Bone." She held her warrant card to the slot anyway. Laminate, a small crown, eighteen years of service. "Bone." The slot scraped shut. She struck the door twice more, for the record more than the result. The steel gave her nothing but cold. Her radio stayed dead. Four minutes had gone, or five. Units would be fanning across the High Street by now, calling her on a channel that no longer reached her. She looked at the camera with its cut cable, at the pallets, at the door. A warrant, a ram, eight coppers and a dog, and what would they find? Doors like this didn't serve warrants. By morning this would be a wall. The wall would be old, and she'd spend the rest of her career explaining that it hadn't been. Two ways this went. Wait for the cavalry and find a wall. Or knock with somebody else's bone. Then the bright little sound came back to her. Tin. Bouncing. She returned through the gap, past the scaffolding, and swept her torch along the boards. The puddle underneath gave it up. A flat disc of bone the size of a fifty-pence piece, polished by a hundred thumbs. A closed eye carved into one face, dried blood in the grooves. His blood, from the torn sleeve. She picked it up. Warm, though the night was cold, and in her palm it kept a faint pulse of its own, a half-step behind hers. She'd waited for backup once, three years back, outside a stairwell, while Morris climbed alone. Eleven minutes. She still knew the weight of them. Her thumb found the worn leather of her watch strap, pressed hard, then let go. The bone fit the brass slot the way a key fits a lock built for it. The click travelled up her arm, and the door swung inward, silent, an invitation. Incense, hot sugar, copper, wet stone, and under it all, voices. Hundreds of them, bargaining over a fiddle, the hiss of something frying, a child laughing a long way off. Concrete steps, worn hollow in the middles, spiralled down past dead posters and pipes that ticked with heat. The light grew the wrong colour for electricity, honey and bone-white, and the noise swelled with every turn, and then the stairs gave out onto a platform that no map of London had ever admitted to. An old station, and not a dead one. Strings of bone-white bulbs lit the arches, and the arches were stalls. Jars of teeth graded by size like sweets. A woman ladled light out of a barrel by the pint, and a queue waited for her with empty bottles. A fortune-teller slept upright with her eyes open, a hand-lettered sign at her feet promising HONEST ANSWERS. At a butcher's stall the meat bled gold into a bowl, and the butcher had too many knuckles, and nobody minded that either. Herrera stood thirty feet in, bag at his side, elbow dripping a slow trail towards a drain. Not running. Watching her with the flat calm of a man reading vitals on a crash victim, deciding what was salvageable. The door boomed shut behind her. The sound rolled down the stairs and died, and the Market died with it. Every voice, every note of the fiddle, every hiss, all of it stopped at once, the way a heart stops. "Por Dios." He shook his head. Half a laugh, no joy in it. "You shouldn't have paid his toll. Tokens are debts down here, and you walked in carrying his." He lifted the bag, and the blood on his elbow caught the bone-white light. "Turn around, Detective. Climb the stairs while it's still an offer. I have a patient. You have a career." Something in the nearest arch sniffed the air, long and slow, the way a butcher sniffs meat. "Copper," it said. The fortune-teller's open eyes found her first. Then every head in the Market turned towards her.
created_at"2026-09-02T10:07:29.913Z" 9/2/2026, 10:07:29 AM
model"z-ai/glm-5.3-20260816"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3664
moderation_latency(null)
generation_time527024
tokens_prompt4484
tokens_completion18544
native_tokens_prompt4200
native_tokens_completion17643
native_tokens_completion_images(null)
native_tokens_reasoning15926
native_tokens_cached4160
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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usage0.0787668
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences17
tagDensity0.353
leniency0.706
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1321
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)
88.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1321
totalAiIsms3
found
0
word"loomed"
count1
1
word"pulse"
count1
2
word"weight"
count1
highlights
0"loomed"
1"pulse"
2"weight"
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
narrationSentences108
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences108
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences119
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1321
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions25
wordCount1224
uniqueNames17
maxNameDensity0.49
worstName"Herrera"
maxWindowNameDensity1.5
worstWindowName"Herrera"
discoveredNames
Christopher2
Camden1
Tomás1
Herrera6
Raven1
Nest1
Eight1
Lock1
Stables1
Saint2
Scaffolding1
High1
Street1
Morris1
London1
Market2
Half1
persons
0"Christopher"
1"Camden"
2"Tomás"
3"Herrera"
4"Raven"
5"Nest"
6"Saint"
7"Morris"
8"Market"
places
0"Stables"
1"High"
2"Street"
3"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences78
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1321
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences119
matches
0"explaining that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs43
mean30.72
std25.91
cv0.843
sampleLengths
010
170
275
38
48
521
67
79
865
940
108
1178
1210
137
1443
1554
1653
1736
1813
1913
2013
216
2214
2317
241
2524
2690
2718
2811
2981
3039
3160
3254
3388
3438
356
3634
3730
3814
3919
4017
413
4216
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences108
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs181
matches
0"was stapling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences119
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1236
adjectiveStacks0
stackExamples(empty)
adverbCount30
adverbRatio0.024271844660194174
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences119
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences119
mean11.1
std7.91
cv0.713
sampleLengths
05
15
222
39
439
53
65
742
84
93
1018
118
125
133
149
1512
167
172
187
1918
205
2121
227
2314
2415
2514
2611
276
282
2917
308
3123
3222
335
343
3510
363
374
3811
3926
402
414
4219
4313
449
4513
468
473
4815
4927
83.75% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.5378151260504201
totalSentences119
uniqueOpeners64
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences101
matches
0"Then Saint Christopher winked at"
1"Then not even static."
2"Then the bright little sound"
3"Then every head in the"
ratio0.04
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount22
totalSentences101
matches
0"He ran well."
1"He ran like a man"
2"she said into her radio"
3"She'd counted worse, and buried"
4"His shoulder clipped a pole,"
5"His sleeve tore at the"
6"She went through the gap"
7"He didn't knock."
8"He pressed something small to"
9"She hammered the steel with"
10"She held her warrant card"
11"She struck the door twice"
12"Her radio stayed dead."
13"She looked at the camera"
14"She returned through the gap,"
15"His blood, from the torn"
16"She picked it up."
17"She'd waited for backup once,"
18"She still knew the weight"
19"Her thumb found the worn"
ratio0.218
98.61% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences101
matches
0"Every streetlamp, the medallion flashed."
1"Quinn ran on the flashes."
2"Saint Christopher, patron saint of"
3"The rest of Camden smeared"
4"He ran well."
5"That was what annoyed her."
6"He ran like a man"
7"That saved introductions."
8"she said into her radio"
9"She'd counted worse, and buried"
10"Herrera cut right at the"
11"Cobbles here, greasy with rain."
12"The bronze horse loomed out"
13"A security guard in a"
14"Herrera put a hand on"
15"The guard sat down hard"
16"Quinn called as she passed"
17"Herrera ducked under the boards"
18"His shoulder clipped a pole,"
19"His sleeve tore at the"
ratio0.723
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences101
matches(empty)
ratio0
99.13% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount3
matches
0"He ran like a man who'd learned it in other cities, in narrower streets, with something behind him."
1"Above the yard, the hoarding sheets flip-flopped on the wind, and the rain came down on the diesel-black water, which held it on its skin in beads, refusing it."
2"Concrete steps, worn hollow in the middles, spiralled down past dead posters and pipes that ticked with heat."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences17
tagDensity0.235
leniency0.471
rawRatio0
effectiveRatio0
95.6713%