Run: 2026-09-23-01M36X2QWBXWTYH7966903GP4Q

Run Details

Duration:
59.7s
Cost:
$0.000646
Provider:
Xiaomi

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 suspect's trainers slapped through a puddle and sent a fan of filthy water against a parked van. Harlow Quinn cut the corner without slowing, her shoulder catching the edge of a bus shelter hard enough to rattle the glass. The man ahead had a good twenty metres on her and was gaining. He wore a dark hood pulled low over his face, and he moved with the fluid economy of someone who'd run these streets before. She matched him stride for stride, her boots hammering the wet pavement, her breath a white ghost in the cold. Turn left. Dead end. He'd have to double back. He didn't. He veered right through a gap between two delivery trucks parked nose to nose, and Quinn had to drop her shoulder and squeeze through after him. Metal scraped across the fabric of her coat. She tasted rain and exhaust fumes. "Metropolitan Police. Stop where you are." Her voice cracked across the empty street. He didn't break stride. He didn't even glance back. Camden Lock stretched ahead of them, shuttered and silent. The canal blacked the middle of the road like a ribbon of oil, and the suspect hurdled the low barrier beside it with practised ease, landing on the wet towpath on the far side. Quinn vaulted the barrier herself and hit the towpath running, her leather watch catching a streetlamp's glow as she pushed off. Ahead, the canal narrowed beneath a low stone bridge. The hooded figure darted through the archway and disappeared into the shadows on the other side. Quinn followed, the acoustics changing as she passed under stone, her footsteps echoing off the curve of the arch, then swallowed by the open air again on the far side. The towpath ended at a flight of rusted metal steps descending into the ground. A sign above them read CAMDEN TOWN STATION, CLOSED. Half the letters had peeled away. She stopped at the top of the steps. Rain streamed down her face and into her collar. Below, the entrance gaped like a mouth, darkness rolling up from the throat of it. The suspect had gone down. She could hear his footsteps, faint and diminishing, a rhythm disappearing into deeper space. Quinn pressed her back against the wall and listened. Dripping water. A low hum, like electricity in old wiring. Then something else: voices, rising and falling in a murmur that carried up the shaft of the stairwell. Many voices. This was not an empty station. She keyed her radio. "Control, this is Quinn. Foot pursuit terminated at Camden Town Station. Subject has descended into the station. Requesting backup at—" Static. She keyed again. Nothing but a long, empty hiss. She looked at the radio, turned it over, checked the signal bars. Two, then one, then none. The station swallowed signal the way it swallowed sound. She could wait here. Sit on the entrance, watch for him to come back up, and hand the whole thing off when backup arrived. But he was moving. Every second she waited, he was putting more distance between them, and something about the way he'd run, straight and confident toward a station she'd been told was closed three years ago, gnawed at the edge of her instincts. She had seen something like it before. Three years ago, with Morris. Quinn shoved the radio into her coat pocket and started down. The stairs were wet and the metal groaned under her weight. She descended in careful, measured steps, keeping one hand on the railing, her other hand resting on the grip of her service pistol without drawing. The darkness thickened with every level. Her eyes adjusted to the gloom: peeling tiles, graffiti layered over graffiti, a dead ticket machine bolted to the wall with its screen cracked and blank. At the bottom of the stairs, the passage opened into a wide corridor that had once been the main concourse. Someone had cleared the rubble. The floor was swept. Fresh bootprints led forward through a set of heavy iron gates that hung open on rusted hinges. Beyond the gates, light. Not the cold fluorescent flicker she expected from an abandoned station, but warmth, amber and low, the kind of light that came from candles and old brass lamps. The corridor bent to the left, and with each step the murmur grew louder, resolving into dozens of overlapping conversations, the clink of glass, the scrape of chairs on stone. Quinn slowed. She reached the bend and pressed herself against the tile, easing her head around the corner. The far end of the platform had been transformed into a bazaar. Tarpaulin stalls lined both walls, draped with strange wares: glass jars filled with things that shifted inside them, coils of silver wire, stacks of yellowed paper bound in leather, dark bottles with handwritten labels she couldn't read from this distance. Traders haggled with customers in a dozen different accents. A woman in a long black coat examined a cracked wooden box that emitted a faint, blue pulse of light every few seconds. The Veil Market. Quinn had heard the name twice before, both times from informants who'd gone pale and refused to say anything else. A black market for things that shouldn't exist. She had dismissed both accounts as fabrication, the kind of superstition that attached itself to Camden like mould on damp walls. She had been wrong. The hooded figure she'd been chasing was nowhere to be seen. He'd melted into the crowd the moment he crossed the threshold, and she'd lost him. Quinn clenched her jaw and scanned the stalls, searching for the dark hood, the set of his shoulders, the way he ran. Nothing. A thickset man with a shaved head and a gold tooth stepped into her path at the entrance to the market proper. He looked her up and down with eyes that moved too slowly, as though he were memorising her. "Token." "What?" "Entry requires a token. Bone token. No token, no trade." "I'm with the police." The man smiled, showing the gold tooth and a gap where a molar should have been. "That's nice. Bone token." Quinn shifted her weight forward, squaring her shoulders. Eighteen years of policing had taught her exactly how to stand when she wanted someone to understand that moving aside was the easier option. The man didn't move. He crossed his arms over his chest and looked at her with patient, unbothered calm. "Look," he said, "I don't make the rules. I just enforce them. You want in, you buy a token. You don't want in, you go back up those stairs. Either way, I don't care. But you're not walking through here without one." "I have a suspect in there." "Then you should have caught him before he came down." Behind the man, the market churned on. A trader across the concourse raised his voice over the crowd, hawking something in a language Quinn didn't recognise. A child's laugh cut through the noise, sharp and bright, then vanished. Somewhere deeper in the station, a door slammed, and the reverberation rolled through the tunnels like a wave. Her suspect could be anywhere in there now. Quinn thought about Morris. She thought about the three years of files she'd pulled and re-pulled, the cases that didn't add up, the reports she'd rewritten until the words blurred. This was the closest she had come to the thing that had swallowed her partner whole, and the answer was standing behind a bald man with a gold tooth who wanted a piece of bone to let her pass. "How much?" "For you? Double." She unclipped her wallet from her belt, pulled out notes, and held them up. The man's eyes tracked the money. He reached into his coat and produced a small, pale disc, no bigger than a two-pound coin, smooth and cool to the touch. She pressed the notes into his palm and took the token. He stepped aside without a word. Quinn pushed into the market and the crowd closed behind her like water. Stalls pressed in from both sides, and the air changed, thick with the smell of dried herbs, old paper, and something metallic she couldn't place. Faces turned toward her. Some watched with curiosity. Some watched with calculation. One figure at the far end of the platform, standing beneath a hanging lantern, met her gaze and held it for a beat too long before turning away. The hood. The runner. He was here. She moved through the crowd, weaving between buyers and sellers, her hand on her pistol now, close to drawing. The token sat heavy in her fist. The lantern-lit figure started walking, unhurried, toward a gap in the stalls at the far end of the platform. Then he stopped. He turned. And he looked directly at her. The hood fell back, and Quinn saw his face for the first time. Young, maybe late twenties, olive skin, short curly hair plastered to his forehead with rain. Around his neck, a Saint Christopher medallion swung on its chain. A scar ran the length of his forearm where his sleeve had ridden up. Tomás Herrera. She knew the name. She had his file in her desk drawer, a paramedic who'd lost his licence for treating patients off the books. She had flagged him as a person of interest six months ago. She had told herself he was peripheral. He mouthed a single word at her across the crowd, and she read it off his lips before the noise of the market swallowed everything. *Run.* Then a stall behind her exploded in a shower of sparks and splintered wood, and the crowd screamed and broke in every direction at once.
created_at"2026-09-23T10:30:45.909Z" 9/23/2026, 10:30:45 AM
model"xiaomi/mimo-v2.6-flash-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2309
moderation_latency(null)
generation_time59703
tokens_prompt4484
tokens_completion2602
native_tokens_prompt4209
native_tokens_completion2241
native_tokens_completion_images(null)
native_tokens_reasoning228
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"
service_tier(null)
usage0.000645988
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790159445-Gymb4ZVIo5Y8gvU402RV"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790159445-VF7BY1VuTwbtigM45Eik"
upstream_id"cfa2e700-beeb-486f-966c-b8ebc4b7147e_da2473dc92b5490aa08ed9c03165746a"
provider_responses
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endpoint_id"6f7ea660-c5e2-492e-8a39-ec254953b3ae"
id"cfa2e700-beeb-486f-966c-b8ebc4b7147e_da2473dc92b5490aa08ed9c03165746a"
is_byokfalse
latency2165
model_permaslug"xiaomi/mimo-v2.6-flash-20260921"
provider_name"Xiaomi"
status200
total_cost0.000645988
cache_discount0.000570752
upstream_inference_cost0
provider_name"Xiaomi"
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
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.083
leniency0.167
rawRatio0
effectiveRatio0
96.91% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1620
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
59.88% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1620
totalAiIsms13
found
0
word"footsteps"
count2
1
word"echoing"
count1
2
word"weight"
count2
3
word"measured"
count1
4
word"gloom"
count1
5
word"flicker"
count1
6
word"warmth"
count1
7
word"resolving"
count1
8
word"pulse"
count1
9
word"scanned"
count1
10
word"churned"
count1
highlights
0"footsteps"
1"echoing"
2"weight"
3"measured"
4"gloom"
5"flicker"
6"warmth"
7"resolving"
8"pulse"
9"scanned"
10"churned"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched her jaw"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences123
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences123
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences134
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1620
ratio0.001
matches
0"Run."
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
totalMentions24
wordCount1513
uniqueNames9
maxNameDensity0.93
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Quinn14
Lock1
Morris2
Veil1
Market1
Camden2
Saint1
Christopher1
Herrera1
persons
0"Quinn"
1"Lock"
2"Morris"
3"Saint"
4"Christopher"
5"Herrera"
places
0"Camden"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences86
glossingSentenceCount1
matches
0"something like it before"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.617
wordCount1620
matches
0"Not the cold fluorescent flicker she expected from an abandoned station, but warmth, amber"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences134
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs58
mean27.93
std23.66
cv0.847
sampleLengths
040
157
29
342
46
516
664
755
829
951
1045
114
1220
1327
149
1567
1612
1711
1868
1946
204
2158
2218
2384
243
2549
264
2748
281
2940
301
311
3210
334
3416
354
3651
3742
386
3910
4056
418
4269
432
443
4554
466
4713
4865
497
96.71% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences123
matches
0"been told"
1"was swept"
2"been transformed"
93.33% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs250
matches
0"was gaining"
1"was putting"
2"were memorising"
3"was standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences134
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1515
adjectiveStacks0
stackExamples(empty)
adverbCount30
adverbRatio0.019801980198019802
lyAdverbCount4
lyAdverbRatio0.0026402640264026403
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences134
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences134
mean12.09
std9.41
cv0.778
sampleLengths
018
122
213
324
420
52
62
75
82
926
108
116
126
137
144
155
169
1734
1821
199
2016
2130
2214
239
246
258
269
2715
285
2914
309
312
328
3318
342
356
364
3720
381
393
406
4112
425
439
444
4520
464
4739
487
495
60.20% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.41044776119402987
totalSentences134
uniqueOpeners55
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences109
matches
0"Then something else: voices, rising"
1"Somewhere deeper in the station,"
2"Then he stopped."
3"Then a stall behind her"
ratio0.037
87.89% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences109
matches
0"He wore a dark hood"
1"She matched him stride for"
2"He'd have to double back."
3"He veered right through a"
4"She tasted rain and exhaust"
5"Her voice cracked across the"
6"He didn't break stride."
7"He didn't even glance back."
8"She stopped at the top"
9"She could hear his footsteps,"
10"She keyed her radio."
11"She keyed again."
12"She looked at the radio,"
13"She could wait here."
14"She had seen something like"
15"She descended in careful, measured"
16"Her eyes adjusted to the"
17"She reached the bend and"
18"She had dismissed both accounts"
19"She had been wrong."
ratio0.33
56.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount88
totalSentences109
matches
0"The suspect's trainers slapped through"
1"Harlow Quinn cut the corner"
2"The man ahead had a"
3"He wore a dark hood"
4"She matched him stride for"
5"He'd have to double back."
6"He veered right through a"
7"Metal scraped across the fabric"
8"She tasted rain and exhaust"
9"Her voice cracked across the"
10"He didn't break stride."
11"He didn't even glance back."
12"Camden Lock stretched ahead of"
13"The canal blacked the middle"
14"Quinn vaulted the barrier herself"
15"The hooded figure darted through"
16"Quinn followed, the acoustics changing"
17"The towpath ended at a"
18"A sign above them read"
19"She stopped at the top"
ratio0.807
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences109
matches(empty)
ratio0
47.62% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount8
matches
0"Harlow Quinn cut the corner without slowing, her shoulder catching the edge of a bus shelter hard enough to rattle the glass."
1"He wore a dark hood pulled low over his face, and he moved with the fluid economy of someone who'd run these streets before."
2"Then something else: voices, rising and falling in a murmur that carried up the shaft of the stairwell."
3"Not the cold fluorescent flicker she expected from an abandoned station, but warmth, amber and low, the kind of light that came from candles and old brass lamps…"
4"Tarpaulin stalls lined both walls, draped with strange wares: glass jars filled with things that shifted inside them, coils of silver wire, stacks of yellowed p…"
5"A woman in a long black coat examined a cracked wooden box that emitted a faint, blue pulse of light every few seconds."
6"She had dismissed both accounts as fabrication, the kind of superstition that attached itself to Camden like mould on damp walls."
7"This was the closest she had come to the thing that had swallowed her partner whole, and the answer was standing behind a bald man with a gold tooth who wanted …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences12
tagDensity0.083
leniency0.167
rawRatio0
effectiveRatio0
89.9622%