Run: 2026-09-23-01M36S91W5Q3V8W5SGTJ2A4MSD

Run Details

Duration:
6m 27s
Cost:
$0.001245
Provider:
DeepInfra

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The bone token came back clean, which meant someone had cleaned it. Quinn crouched at the edge of the tile floor, gloved fingers turning the small carved disc over beneath her torch beam. No prints, no skin cells, nothing. Someone had scrubbed it with something stronger than soap. "Find something?" DS Carter's voice carried from three metres back, where he stood with his notebook open and his pen hovering, the picture of procedural patience. "A token." She held it up. "Bone. Recent, judging by the colour, but wiped down." She slid it into an evidence bag and sealed it. "Who found the body?" "Council worker doing a routine sweep. Said he heard water running." Carter glanced down the length of the abandoned platform. "Which is strange, considering there's no water supply down here." Quinn straightened and swept her torch along the corridor. The Veil Market, or whatever this place had been before the Met sealed it off last year, stretched deeper than she'd expected. Tiled walls in cracked cream and faded maroon, Victorian-era signage half-obscured by decades of grime, and the acrid bite of something chemical, something she couldn't place, stinging the back of her throat. The body lay near the old ticket hall. Male, forties, dressed in a charcoal suit that had seen better days. His shoes were polished to a shine that struck her as wrong for a man lying face-down on a filthy station floor. "Pathologist's twenty minutes out," Carter said. "Want the prelim?" "I've got eyes." Carter made a sound that wasn't quite a laugh. He'd been like that all morning, deferential but amused, as though her thoroughness entertained him. Quinn approached the body slowly, letting her gaze work the periphery first. The man's hands were folded across his chest, not sprawled. Someone had positioned him. Rigor mortis had already set in the jaw, and the lividity pooling along his right side suggested he'd been dead six to twelve hours. Someone had moved him here after he died. "Positioned," she said. "Post-mortem rearrangement?" Carter moved to stand beside her. "Or the killer tidied up." "Folded hands. Shoes cleaned. Look at his cuffs." She knelt again, careful not to disturb the chalk line the first officer had drawn around the body. The man's shirt cuffs bore faint green stains, verdigris, the particular blue-green of oxidised brass. "Someone's been handling old metal." "Or new metal treated to look old." Quinn's torch caught something glinting beneath the man's left sleeve. She eased the fabric back. A wristwatch. Brass, round, its face etched with markings that her torch didn't quite illuminate. She leaned closer. The needle inside the glass didn't point at twelve or six or any number on the dial. It pointed at nothing, spinning slowly, lazily, as though it had all the time in the world. "Interesting watch," Carter said. "Broken." Quinn took a photo. "Or not the kind that tells time." A sound echoed from the far end of the platform, metal on metal, a clatter that bounced off the tiles and multiplied until it seemed to come from everywhere at once. Carter's hand went to his hip, resting on the holster there, and Quinn felt her own pulse tick up a notch. They waited. The sound didn't repeat. "Rats," Carter said. "Rats don't carry wrenches." Quinn stood. "Check the tunnel mouth to the north. See if anyone's been through recently." He hesitated, then moved off. His footsteps receded down the platform, and Quinn was alone with the body and the chemical smell that kept tightening her sinuses. She circled the man once more, this time looking at what she'd missed. The floor around him was dry, except for a semicircle of damp tiles near his head, close enough to be a spill, far enough to be deliberate. She crouched and touched one with a gloved finger. Not water. It had a viscous consistency, clinging to the latex, and it caught her torch light with a faint shimmer, like oil. A scuff mark on the tile beneath his shoes pointed toward the tunnel to the south. Drag marks, thin and parallel, vanishing into the dark. Someone had pulled him here from that direction. But the man weighed at least fifteen stone, and drag marks that clean required a flat surface and a determined effort. Quinn followed the marks twenty metres before they stopped at a rusted service gate. Beyond it, the tunnel mouth yawned, and her torch beam died two metres in, swallowed by the dark. She aimed it again. Same result. She pulled out her phone. No signal. The watch she'd photographed. The bone token. The verdigris stains. The needle that pointed at nothing. None of it formed a picture she could hold in her hands, and that frustrated her more than any crime scene had in years. Evidence either told a story or it didn't, and right now this collection of details was whispering in a language she didn't speak. Carter returned, moving at a brisk pace. "Gate's secure to the north. No one's been through in days, by the look of it." "Someone's been through here." Quinn pointed at the drag marks. Carter followed her gaze and frowned. "Could be from before. This place sat empty for years." "Not with this residue." She held up her gloved finger, letting the shimmer catch his eyes. "Fresh. And the body's positioned, not just dumped. Whoever did this spent time." "Time and elbow grease." Carter crouched near the body and lifted the man's left hand. Under the torch, a ring glinted on the fourth finger, a simple silver band, but the interior engraving was illegible, worn smooth or deliberately scratched away. "No ID. No phone. No wallet." "Someone who didn't want him identified." "Or someone who took what they wanted and left the rest." Carter let the hand drop. "Looks like a robbery gone sideways. Suit suggests means, but the district's full of old money people who wander into places like this." Quinn studied Carter's face. His explanation was tidy, comfortable, the kind of conclusion a man reached when he wanted the case to be simple. She'd worked eighteen years alongside men like him, and she'd learned that tidy conclusions were usually lies people told themselves. "The drag marks go south, you said the north gate is secure." She looked back toward the dark tunnel mouth. "What's south of here?" "The old Bedford line. Sealed in the eighties." Carter straightened and brushed off his knees. "Nothing down there but concrete and pigeons." "And a body that walked into a station it shouldn't have access to, carrying no identification, wearing a watch that doesn't keep time, and leaving chemical residue on his cuffs." Quinn pulled out her notebook and wrote three words in block capitals: VERDIGRIS, TOKEN, SOUTH. "That's a lot of mystery for a mugging." "It's not a mugging. Muggers take the watch. This one's still on his wrist." Carter's jaw tightened. He opened his mouth, then closed it. The chemical smell thickened. Quinn caught a whiff of something else beneath it, copper, sharp and unmistakable, and she turned toward the body fast. The damp semicircle had spread. Where she'd touched the tiles minutes ago, a dark liquid now pooled outward from beneath the man's coat, seeping across the grout lines in thin rivulets. "He wasn't bleeding before," Carter said. Quinn dropped to her knees and pulled back the coat. The wound wasn't visible on the surface. No puncture, no laceration, no entry point. Yet the blood continued to well up from somewhere inside the man's torso, rising through the fabric of his shirt in a slow, steady bloom. "He's not bleeding out." Quinn pressed two fingers to his neck, hoping, needing, to find a pulse that proved her wrong. Nothing. Rigor confirmed it. Dead hours ago. But the blood kept coming. Carter backed up a step. "That's not possible." Quinn watched the dark liquid trace the tile lines, running toward the drag marks, following them south like water following a channel. The bone token in her evidence bag suddenly felt heavier, as though it had shifted weight. Her torch flickered, steadied, flickered again. She stood and looked south, into the mouth of the tunnel where her beam had died. Something moved in the dark. Not a rat. Not a pigeon. Something with the shape of a person and the speed of neither, sliding along the tunnel wall in a direction that defied the geometry of the space. "Carter." Her voice came out flat, controlled, the way she'd trained it to be under fire. "Torch on that tunnel. Now." His beam swept the opening. The movement vanished. But the light caught something else: a second set of drag marks, fresh, wet, running the opposite direction from where they'd come, leading from the sealed Bedford line and straight to the man on the floor. "They didn't bring him here." Quinn's stomach dropped. "He came from that direction." "He's been dead for hours." "Then something brought him." Carter's torch beam trembled. The copper smell climbed the back of Quinn's throat, and the dark liquid on the floor had stopped spreading, had instead begun to gather, drawing itself back toward the body in a slow, deliberate pull, as though the tiles were inhaling. The brass watch on the dead man's wrist ticked once, loud in the silence. Then the tunnel breathed, and the walls shuddered, and Quinn heard her own name carried up from the darkness in a voice she recognised with a jolt that froze the blood in her veins. DS Morris. Dead three years.
created_at"2026-09-23T09:24:18.449Z" 9/23/2026, 9:24:18 AM
model"xiaomi/mimo-v2.6-flash-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3778
moderation_latency(null)
generation_time387367
tokens_prompt4492
tokens_completion2681
native_tokens_prompt4238
native_tokens_completion2326
native_tokens_completion_images(null)
native_tokens_reasoning238
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)
usage0.0012446
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790155458-SNsrCmRqEwaKymopHTYO"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790155458-6QMf1rQApUYe3DKj5SCD"
upstream_id"chatcmpl-R6Y451GHKqrCavTsCJggoLE6"
provider_responses
0
endpoint_id"8f1a1d4b-adc8-465f-860a-4dc2aad88765"
id"chatcmpl-R6Y451GHKqrCavTsCJggoLE6"
is_byokfalse
latency89
model_permaslug"xiaomi/mimo-v2.6-flash-20260921"
provider_name"DeepInfra"
status200
total_cost0.0012446
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags24
adverbTagCount1
adverbTags
0"She knelt again [again]"
dialogueSentences47
tagDensity0.511
leniency1
rawRatio0.042
effectiveRatio0.042
84.34% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1596
totalAiIsmAdverbs5
found
0
adverb"slowly"
count2
1
adverb"lazily"
count1
2
adverb"deliberately"
count1
3
adverb"suddenly"
count1
highlights
0"slowly"
1"lazily"
2"deliberately"
3"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
56.14% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1596
totalAiIsms14
found
0
word"glinting"
count1
1
word"etched"
count1
2
word"echoed"
count1
3
word"pulse"
count2
4
word"footsteps"
count1
5
word"determined"
count1
6
word"comfortable"
count1
7
word"weight"
count1
8
word"flickered"
count2
9
word"stomach"
count1
10
word"trembled"
count1
11
word"silence"
count1
highlights
0"glinting"
1"etched"
2"echoed"
3"pulse"
4"footsteps"
5"determined"
6"comfortable"
7"weight"
8"flickered"
9"stomach"
10"trembled"
11"silence"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
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
filterCount1
hedgeCount1
narrationSentences113
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences136
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1596
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1276
uniqueNames8
maxNameDensity1.49
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Carter"
discoveredNames
Carter18
Quinn19
Veil1
Market1
Met1
Victorian-era1
Bedford1
Morris1
persons
0"Carter"
1"Quinn"
2"Met"
3"Morris"
places
0"Bedford"
globalScore0.755
windowScore0.5
79.58% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount2
matches
0"quite a laugh"
1"quite illuminate"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1596
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences136
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs58
mean27.52
std19.89
cv0.723
sampleLengths
048
126
229
330
463
542
69
73
824
958
103
1113
1241
135
1474
154
1612
1758
183
1919
2027
2172
2254
2338
247
2563
2623
2710
2816
2929
3047
316
3239
3344
3424
3522
3645
378
3814
3910
4055
416
4249
4328
445
458
4644
4716
4838
4921
99.05% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences113
matches
0"were polished"
1"were folded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs224
matches
0"was whispering"
1"were inhaling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences136
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1280
adjectiveStacks0
stackExamples(empty)
adverbCount34
adverbRatio0.0265625
lyAdverbCount6
lyAdverbRatio0.0046875
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences136
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences136
mean11.74
std9.04
cv0.771
sampleLengths
012
121
26
39
426
56
619
74
820
910
109
1122
1232
138
1412
1522
166
173
183
199
2015
2112
2210
234
2424
258
263
278
285
2926
3015
315
3217
335
342
3513
363
3717
3817
394
405
417
4231
4321
442
454
463
476
4813
495
63.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.4117647058823529
totalSentences136
uniqueOpeners56
33.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences100
matches
0"Then the tunnel breathed, and"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences100
matches
0"She held it up"
1"She slid it into an"
2"His shoes were polished to"
3"He'd been like that all"
4"She knelt again, careful not"
5"She eased the fabric back."
6"She leaned closer."
7"It pointed at nothing, spinning"
8"He hesitated, then moved off."
9"His footsteps receded down the"
10"She circled the man once"
11"She crouched and touched one"
12"It had a viscous consistency,"
13"She aimed it again."
14"She pulled out her phone."
15"She held up her gloved"
16"His explanation was tidy, comfortable,"
17"She'd worked eighteen years alongside"
18"She looked back toward the"
19"He opened his mouth, then"
ratio0.24
40.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences100
matches
0"The bone token came back"
1"Quinn crouched at the edge"
2"Someone had scrubbed it with"
3"DS Carter's voice carried from"
4"She held it up"
5"She slid it into an"
6"Carter glanced down the length"
7"Quinn straightened and swept her"
8"The Veil Market, or whatever"
9"The body lay near the"
10"His shoes were polished to"
11"Carter made a sound that"
12"He'd been like that all"
13"Quinn approached the body slowly,"
14"The man's hands were folded"
15"Someone had positioned him."
16"Rigor mortis had already set"
17"Someone had moved him here"
18"Carter moved to stand beside"
19"She knelt again, careful not"
ratio0.84
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences100
matches(empty)
ratio0
38.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount6
matches
0"His shoes were polished to a shine that struck her as wrong for a man lying face-down on a filthy station floor."
1"He'd been like that all morning, deferential but amused, as though her thoroughness entertained him."
2"A sound echoed from the far end of the platform, metal on metal, a clatter that bounced off the tiles and multiplied until it seemed to come from everywhere at …"
3"His footsteps receded down the platform, and Quinn was alone with the body and the chemical smell that kept tightening her sinuses."
4"The bone token in her evidence bag suddenly felt heavier, as though it had shifted weight."
5"The copper smell climbed the back of Quinn's throat, and the dark liquid on the floor had stopped spreading, had instead begun to gather, drawing itself back to…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags24
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"Quinn pressed (press)"
dialogueSentences47
tagDensity0.128
leniency0.255
rawRatio0.167
effectiveRatio0.043
84.8083%