Run: 2026-09-23-01M36TR4GVMC7M7D4AV0SH3HQW

Run Details

Duration:
2m 20s
Cost:
$0.001227
Provider:
DeepInfra

Model input

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

Model response

AI
The man's boot caught the edge of the kerb and he stumbled forward, arm windmilling, rain streaming off his shoulders like a second skin. Quinn closed the gap between them in four strides. "Don't make me chase you." Her voice carried flat over the drumming rain. "I hate running." He didn't look back. He cut hard left down an alleyway thick with overflowing bins and the stench of something rotting beneath them, and Quinn followed without breaking stride. Eighteen years of Metropolitan Police service and she still got a flash of adrenaline in her legs every time a suspect ran, that clean, sharp pulse that drowned out the noise in her head. The alley spat them out onto a wider street lined with shuttered shops. Camden at night, in November rain, had the feel of a place holding its breath. The man ahead of him was fast, wiry, hood up, hands jammed in the pockets of a dark jacket. She'd clocked him twenty minutes ago standing outside The Raven's Nest, watching the door with the patience of someone who knew what lived behind that bookshelf. Quinn vaulted a low railing. Her worn leather watch scraped against stone. He turned a corner and vanished. She pressed herself against the brickwork, breathing through her nose, listening. Rain hissed on tarmac. A car passed somewhere distant, its tyres whispering over wet roads. Then she heard it, a metallic clatter, a scrape of iron against iron, echoing up from below street level. She moved. The sound led her to a rusted maintenance gate set into the pavement beside a defunct phone box. The grate lay wrenched open, bent at an angle that spoke of someone pulling hard and without care. A metal ladder descended into darkness, and rising from the shaft came the smell of damp concrete and something sweeter, chemical, like old perfume left to spoil. Quinn crouched at the edge. Her torch cut a pale beam down the ladder's rungs. Thirty feet, maybe more, and at the bottom, a corridor stretching in both directions, tiled in the old Underground style, glazed white with decades of grime. The abandonded station beneath Camden. She'd read the reports. Council surveys from 2011 that marked the tunnels as structurally unsound. Nothing about what crawled down there now. She keyed her radio. Static answered. "Tactical, this is Quinn, signal's dead at my location, Camden Town, north side." She paused. "Any unit within hearing, acknowledge." Nothing but the wet hiss of rain behind her. She looked down the shaft again. The scrape had stopped, but there was light now, far below, a faint amber glow that pulsed like something breathing. The bones of the old station caught it in patches, illuminating broken tiles, a shattered roundel sign half-buried in rubble. Then she saw the hand. It gripped the ladder at the bottom, pale fingers closing around rusted iron, and the man was climbing back up toward her. He wasn't running anymore. He'd stopped three rungs from the top, hood fallen back to reveal a narrow face, sharp cheekbones, eyes that held her torch beam without flinching. "You shouldn't be down here," he said. "Neither should you. Come up. Hands where I can see them." "I'm telling you for your own sake." His voice was calm, almost gentle, the kind of calm that made the hair on her forearms stand. "What's down there isn't a police matter." "Everything's a police matter." She drew her cuffs. "One warning. Climb." He looked at her for a long moment, rain dripping off the end of his nose, and then he smiled. It was a sad smile, the kind people wear when they know something you don't. Then he turned and descended, dropping rung over rung until his boots touched the tunnel floor. He didn't run. He walked deeper into the amber glow with the ease of someone following a familiar path. Quinn gripped the ladder. She should call for backup. She should secure the entrance and wait. Standard procedure, eighteen years of it carved into her muscle memory. But her radio was dead, her phone had no signal, and the man she'd been tracking, the man who'd been watching The Raven's Nest for three days, was walking into a tunnel beneath Camden that shouldn't have light inside it. She thought of Morris. Morris who'd told her, three years ago, that he'd seen something on the case that the file didn't cover. Morris who'd walked into a place he shouldn't have gone, alone. Quinn climbed down. The rungs groaned under her weight but held. Her boots hit concrete with a solid thud, and the sound rolled down the corridor like a stone dropped into still water. The tunnel stretched ahead, arched ceiling low enough that she raised a hand instinctively to feel the damp brickwork. Tiles covered the walls, most cracked or missing, but in patches someone had cleaned them, scrubbed away the grime to reveal the original white surface beneath. The amber light ahead brightened as she moved forward. It came from a wider chamber where two tunnels converged, a junction point marked with a faded station name she couldn't read in the half-light. Someone had decorated the space. Old maps hung from nails driven into the mortar, printed on yellowed paper, next to black-and-white photographs of places she didn't recognise. The air smelled of ozone and candle wax and, underneath it all, something metallic that settled on her tongue like a copper penny. The man was gone. The corridor branched ahead, and he'd taken one of the paths without hesitation. Quinn pressed on along the main tunnel, following the light. Her footsteps echoed, and she started noticing things. Scuff marks on the floor, fresh ones, the drag of boots over damp concrete. Boot prints pressed into a patch of silty mud that had seeped through a crack in the ceiling. Whoever used these tunnels came often, and in numbers. The tunnel opened into a wider space, and Quinn stopped. A row of makeshift stalls lined the walls, trestle tables draped in dark cloth, lanterns hanging from hooks above them. The amber glow came from somewhere deeper, from a second chamber beyond the first, and figures moved in the space between. Not many. A dozen, maybe. Hooded shapes tending their stalls, examining wares, speaking in low voices that merged with the drip of water. The Veil Market. She'd heard the name whispered in interviews, buried in surveillance transcripts, always in the same context, the same tone, as if saying it aloud invited something in. A hidden black market that moved locations every full moon, selling enchanted goods and banned alchemical substances and information. She'd dismissed it as folklore. The kind of thing junkies and the mentally unwell invented to explain their underworld. The stall nearest to her held rows of small glass vials filled with liquids that shifted colour in the lantern light, silver and green and a deep, bruised purple. Beside them sat a leather-bound book open to a page covered in handwritten notes she couldn't read, script in a language that made her eyes ache when she tried to focus on it. A figure stepped into the tunnel behind her. Quinn spun, hand on her holster. The man was tall, broad-shouldered, wearing a coat of grey wool that looked out of place in the damp. He held a small token in his palm, white as bone, shaped like a coin but heavier somehow, the edges carved with symbols she didn't recognise. "You need one of these," he said. "To pass. Everyone does." "Police. I don't need a token." His gaze moved over her with the unhurried attention of someone cataloguing a curiosity. "Everyone needs a token, Detective." The word hit her like cold water. He knew her name. She hadn't given it. "Who told you to watch The Raven's Nest?" she asked. "No one tells me anything." He closed his fist around the bone token. "And you're not here as police. Your radio's dead, your phone's dead, and you climbed down alone. That makes you a visitor." He tilted his head. "A dangerous one." "How do you know about my radio?" "Because I know about the Veil, and the Veil knows about you." His eyes moved past her shoulder, toward the amber light, and something shifted in his expression, a tightening at the jaw. "Your man's gone past the second gate. If you follow him, you won't come back the same way." Quinn's hand rested on her holster. The metal was cold against her damp palm. "Which way did he go?" The man held her gaze for three seconds. Then he stepped aside. "Left at the junction. Don't touch anything. Don't speak to the traders. And Detective?" He leaned close enough that she caught the scent of cedar and something older, something she couldn't place. "Whatever you find down there, leave it where it lies." Quinn walked past him. The lantern light shifted as she moved, casting her shadow long against the tiled wall, and somewhere ahead, deeper in the Veil Market, a door she hadn't seen from the surface swung shut with a sound like bone cracking in half.
created_at"2026-09-23T09:50:01.252Z" 9/23/2026, 9:50:01 AM
model"xiaomi/mimo-v2.6-flash-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency463
moderation_latency(null)
generation_time139573
tokens_prompt4484
tokens_completion2634
native_tokens_prompt4209
native_tokens_completion2276
native_tokens_completion_images(null)
native_tokens_reasoning330
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)
usage0.00122654
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790157001-8XTpANAAPvCQRb7KQLBe"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790157001-ed6rLkbY85C5zN6kHMaP"
upstream_id"chatcmpl-RHjNcaTyMPCehKFnyZCb507z"
provider_responses
0
endpoint_id"8f1a1d4b-adc8-465f-860a-4dc2aad88765"
id"chatcmpl-RHjNcaTyMPCehKFnyZCb507z"
is_byokfalse
latency85
model_permaslug"xiaomi/mimo-v2.6-flash-20260921"
provider_name"DeepInfra"
status200
total_cost0.00122654
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
totalTags11
adverbTagCount1
adverbTags
0"He leaned close [close]"
dialogueSentences24
tagDensity0.458
leniency0.917
rawRatio0.091
effectiveRatio0.083
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1530
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)
67.32% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1530
totalAiIsms10
found
0
word"streaming"
count1
1
word"pulse"
count1
2
word"echoing"
count1
3
word"pulsed"
count1
4
word"shattered"
count1
5
word"familiar"
count1
6
word"standard"
count1
7
word"weight"
count1
8
word"footsteps"
count1
9
word"echoed"
count1
highlights
0"streaming"
1"pulse"
2"echoing"
3"pulsed"
4"shattered"
5"familiar"
6"standard"
7"weight"
8"footsteps"
9"echoed"
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
narrationSentences105
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences105
filterMatches
0"watch"
1"know"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences118
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1530
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount1343
uniqueNames11
maxNameDensity0.82
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Quinn11
Metropolitan1
Police1
November1
Raven2
Nest2
Underground1
Camden3
Morris3
Veil2
Market2
persons
0"Quinn"
1"Police"
2"Raven"
3"Nest"
4"Morris"
places
0"November"
1"Veil"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences73
glossingSentenceCount1
matches
0"as if saying it aloud invited something in"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1530
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences118
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean30
std22.75
cv0.758
sampleLengths
033
116
263
373
412
56
645
72
863
941
1027
116
1220
139
1446
155
1651
177
1811
1932
2011
2135
2235
234
2463
2534
263
2775
2884
2917
3059
3110
3264
3349
3419
3562
3614
3745
3811
396
4019
4115
4210
4342
447
4551
4614
475
4812
4942
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences105
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs232
matches
0"was climbing"
1"wasn't running"
2"was walking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences118
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1349
adjectiveStacks0
stackExamples(empty)
adverbCount36
adverbRatio0.026686434395848776
lyAdverbCount3
lyAdverbRatio0.002223869532987398
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences118
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences118
mean12.97
std9.14
cv0.705
sampleLengths
024
19
213
33
44
525
634
713
815
919
1026
115
127
136
1411
154
1611
1719
182
1918
2018
2127
225
2310
2426
255
264
2711
287
294
302
3115
325
339
346
3520
3620
375
3822
394
4025
417
4211
4325
447
458
463
4720
4815
4916
60.73% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.4152542372881356
totalSentences118
uniqueOpeners49
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences98
matches
0"Then she heard it, a"
1"Then she saw the hand."
2"Then he turned and descended,"
3"Then he stepped aside."
ratio0.041
73.06% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences98
matches
0"Her voice carried flat over"
1"He didn't look back."
2"He cut hard left down"
3"She'd clocked him twenty minutes"
4"Her worn leather watch scraped"
5"He turned a corner and"
6"She pressed herself against the"
7"Her torch cut a pale"
8"She'd read the reports."
9"She keyed her radio."
10"She looked down the shaft"
11"It gripped the ladder at"
12"He wasn't running anymore."
13"He'd stopped three rungs from"
14"His voice was calm, almost"
15"She drew her cuffs"
16"He looked at her for"
17"It was a sad smile,"
18"He didn't run."
19"He walked deeper into the"
ratio0.367
26.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount85
totalSentences98
matches
0"The man's boot caught the"
1"Quinn closed the gap between"
2"Her voice carried flat over"
3"He didn't look back."
4"He cut hard left down"
5"The alley spat them out"
6"Camden at night, in November"
7"The man ahead of him"
8"She'd clocked him twenty minutes"
9"Quinn vaulted a low railing."
10"Her worn leather watch scraped"
11"He turned a corner and"
12"She pressed herself against the"
13"Rain hissed on tarmac."
14"A car passed somewhere distant,"
15"The sound led her to"
16"The grate lay wrenched open,"
17"A metal ladder descended into"
18"Quinn crouched at the edge."
19"Her torch cut a pale"
ratio0.867
51.02% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences98
matches
0"Whoever used these tunnels came"
ratio0.01
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount11
matches
0"Eighteen years of Metropolitan Police service and she still got a flash of adrenaline in her legs every time a suspect ran, that clean, sharp pulse that drowned…"
1"She'd clocked him twenty minutes ago standing outside The Raven's Nest, watching the door with the patience of someone who knew what lived behind that bookshelf…"
2"She pressed herself against the brickwork, breathing through her nose, listening."
3"The grate lay wrenched open, bent at an angle that spoke of someone pulling hard and without care."
4"He'd stopped three rungs from the top, hood fallen back to reveal a narrow face, sharp cheekbones, eyes that held her torch beam without flinching."
5"But her radio was dead, her phone had no signal, and the man she'd been tracking, the man who'd been watching The Raven's Nest for three days, was walking into …"
6"Hooded shapes tending their stalls, examining wares, speaking in low voices that merged with the drip of water."
7"She'd heard the name whispered in interviews, buried in surveillance transcripts, always in the same context, the same tone, as if saying it aloud invited somet…"
8"A hidden black market that moved locations every full moon, selling enchanted goods and banned alchemical substances and information."
9"The stall nearest to her held rows of small glass vials filled with liquids that shifted colour in the lantern light, silver and green and a deep, bruised purpl…"
10"Beside them sat a leather-bound book open to a page covered in handwritten notes she couldn't read, script in a language that made her eyes ache when she tried …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount0
fancyTags(empty)
dialogueSentences24
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
89.2821%