Run: 2026-09-24-01M39VFP63XVZ1TVNBVHV6WJPJ

Run Details

Duration:
1m 60s
Cost:
$0.011019
Provider:
AionLabs

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
Herrera cleared a recycling bin in one leap and Quinn hit the pavement a stride later, palm slapping wet stone, boots skidding through fried-onion grease outside a kebab shop that had seen better decades. "Police! Stop!" He didn't stop. Of course he didn't. Three weeks of dead ends, three weeks of paperwork and cold leads, and now the ghost medic from Seville sprints out of a Soho back door at half past midnight like the building's on fire behind him. She'd watched the Raven's Nest for three nights from a parked van with a cracked windscreen, nursing vending-machine coffee and waiting for the green neon above the entrance to flicker its slow, asthmatic rhythm. Tonight it had flickered, and Tomás Herrera had slipped out through a cellar hatch with a holdall that clinked. Now the holdall bounced against his spine as he cut left off Wardour Street, scattering a pack of revellers in plastic tiaras. "Control, this is Quinn. In pursuit, male, late twenties, olive skin, dark jacket, running north from Shaftesbury Avenue. Request backup." "Copy that, Quinn. Nearest unit is twelve minutes out." Twelve minutes. Generous of them. He hurled a scaffold barrier behind him. She vaulted it, caught her shin on the lower bar, and kept the shape of him in sight: dark jacket, white flash of trainers, the holdall swinging. Rain came down in sheets now, turning the street into a river of neon reflections, red and gold smearing under her feet like paint someone had spilled and given up on. He ducked into a service alley behind a restaurant. She followed, shoulders burning, and nearly lost him in the dark until a streetlamp caught metal at his throat. A medallion. Saint Christopher, patron of travellers, glinting like a coin tossed to a fountain as he vaulted a chained gate. Patron saint of getting the hell out. She hit the gate, hauled herself over, tore her sleeve doing it. Tottenham Court Road opened ahead, dual carriageway, no cover, and Herrera was already crossing against the lights, a bus bearing down on him with its wipers thrashing. He rolled over the bonnet of a black cab instead. The driver's horn held one long, outraged note. Quinn took the crossing when the lights changed, lungs working like bellows. He was heading for Camden. She could see it in the geometry of him, in the way he checked over his shoulder not in panic but in intervals, a man with a route planned and a schedule to keep. Paramedics ran like that. Efficient. Economical. She'd chased enough of them to know. "Control, update. Suspect heading north, likely Camden. Where's my backup?" "Eleven minutes, Quinn." Eleven. The rain thickened. Camden High Street rose around them in a canyon of shuttered stalls and dead shopfronts, and Herrera cut down a side road she would have sworn was a dead end. It wasn't. A gap gaped in the hoarding behind an abandoned retail unit, boards peeled back like the lid of a sardine tin, and beyond it concrete steps descended into a black mouth. She knew that mouth. Every officer who'd worked Camden knew it. A Tube station closed before she was born, sealed, listed, forgotten. The sort of place that ended up in budget reports about structural liability and nowhere else. Herrera took the steps three at a time. Quinn skidded through the gap in the hoarding and stopped at the top. The stairs went down further than any station had a right to. Warm air rose to meet her, and it was wrong, that warmth, carrying cardamom and woodsmoke and something sharper underneath, copper maybe, or iron. Rust turnstiles stood at the bottom beside a gate that should have been chained shut. It wasn't. A lantern hung from a bracket beside it, and under the lantern sat a small woman with a shawl and hands that moved over a length of bone needles, knitting something that had no shape yet. Herrera reached the gate. The woman didn't look up. The gate opened anyway, hinges silent, and he slipped through. Then he turned. Looked up at her through the rain, medallion dull against his throat, and his face did something she hadn't expected. It softened. "Señora. Please." His accent wrapped the word thick. "Turn around. Go back to your streets, your backups, your paperwork. This place is not for you." "Tomás Herrera, you're wanted for questioning in three deaths. You know I can't do that." "Three deaths." He laughed once, and there was no humour in it, only exhaustion. "Yes. Ask your questions. But not here. Not down there." He held her gaze a beat longer. "You still have a choice. Use it." He stepped through. The gate swung shut with a sound like a coffin lid finding its frame. Quinn descended the stairs, weapon drawn, and the rain fell away above her like a curtain coming down. The turnstile stood between her and the gate, and the knitting woman watched her now with eyes the colour of milk left out too long. "Token," the woman said. "I'm police. Metropolitan Police. I'm pursuing a suspect into, wherever this is." "Yes. Token." Quinn held up her warrant card. The woman looked at it the way one looks at a bus ticket found in the street. "Paper means nothing past this gate." "Then I'll owe you. Whatever the fee is, I'll owe you." "The market doesn't run on debt, dear. It runs on bone." The needles clicked. Clicked. "Bone token, or bone turn back. Those are your doors." Quinn's radio hissed. "Quinn, backup is nine minutes out, holding at Camden High Street, over." Nine minutes. The gate would not wait nine minutes. The gate, she suspected, would not wait at all. She looked down at the jacket draped over her forearm, the one she'd wrenched off Herrera on Camden High Street when she'd grabbed his hood and he'd twisted clean out of it like a man shedding a skin. She'd carried it half a mile without thinking about it. She thought about it now, and went through the pockets with quick, professional hands. Receipts. A folded scalpel in a plastic sleeve. And in the breast pocket, wrapped in a scrap of oilcloth, a small carved object that fit in the palm of her hand and was warm, warmer than it had any right to be, warm like something recently alive. A token. Bone, pale as teeth, carved with letters she didn't recognise. The knitting needles stopped. "Well now." The woman's head tilted. "That's his." "It's evidence." "That's his, and he's a careful man, that one. Careful men don't lose their tokens." The milky eyes seemed to look through Quinn rather than at her. "Careful men don't lose anything. Careful men leave." The warmth of the token crept into Quinn's palm and sat there. "Open the gate," Quinn said. "Last chance, dear. Once you're through, the market remembers you. It remembers everyone. Some it remembers kindly." The needles resumed their clicking. "Some it keeps." "Open the gate." The woman reached out with one needle and touched the gate, and the hinges made their silent sound, and the way in stood open. Beyond it, a platform stretched into lamplight, and beyond the lamplight, the arches of the dead station flickered with a hundred small flames, stalls and awnings and shapes moving between them, a whole marketplace breathing in a place that had been suffocated and sealed half a century ago. Quinn checked her watch out of habit. Worn leather strap, cracked face, the time wrong since the year she'd stopped winding it. Her thumb found the strap's softest spot, the place it always found, and she made herself take it away. She stepped through. The gate closed behind her without a sound. The turnstile clicked her through like a fare being paid. Warm air wrapped around her, spice and smoke and that copper undertone, and somewhere ahead in the crowd a grey jacket wove between stalls, Herrera's rhythm unmistakable even now, unhurried suddenly, a man arriving rather than fleeing. He'd left the token. Careful men leave. Quinn moved onto the platform, torch up, and the crowd ahead of her parted and closed like water, faces glancing at her and away, some of them wrong in ways her mind filed and refused to examine. Then, from the tunnel mouth ahead, out of the dark where her torch hadn't reached yet, a voice spoke her name. "Quinn." Not Herrera's voice. Not accented, not tired, not warning. A London voice, flat vowels and calm, the voice that had come through her radio every shift for six years, the voice on the recording she'd played so many times the file had degraded. "Harlow. You brought the watch." Her torch beam shook once, then steadied, and found wet footprints on the platform edge, leading down into the tunnel, fresh, bare, and pointing toward her.
created_at"2026-09-24T14:00:36.324Z" 9/24/2026, 2:00:36 PM
model"aion-labs/aion-3.5-mini-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2347
moderation_latency(null)
generation_time119683
tokens_prompt4484
tokens_completion6342
native_tokens_prompt4192
native_tokens_completion5775
native_tokens_completion_images(null)
native_tokens_reasoning4160
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)
usage0.0110194
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790258436-R7AsgHEceLcCzf0FlYjJ"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790258436-gHwsAYpaQxelIaS8x3Rg"
upstream_id"9e5eb4f5cd8d42519281fe4162c70db8"
provider_responses
0
endpoint_id"60ac3bdc-90ec-4769-9193-2c00b4d79562"
id"9e5eb4f5cd8d42519281fe4162c70db8"
is_byokfalse
latency2346
model_permaslug"aion-labs/aion-3.5-mini-20260923"
provider_name"AionLabs"
status200
total_cost0.0110194
cache_discount(null)
upstream_inference_cost0
provider_name"AionLabs"
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
totalTags9
adverbTagCount1
adverbTags
0"He laughed once [once]"
dialogueSentences30
tagDensity0.3
leniency0.6
rawRatio0.111
effectiveRatio0.067
96.63% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1483
totalAiIsmAdverbs1
found
0
adverb"suddenly"
count1
highlights
0"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)
76.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1483
totalAiIsms7
found
0
word"flicker"
count1
1
word"flickered"
count2
2
word"glinting"
count1
3
word"efficient"
count1
4
word"warmth"
count2
highlights
0"flicker"
1"flickered"
2"glinting"
3"efficient"
4"warmth"
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
emotionTells1
narrationSentences97
matches
0"t in panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences97
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)
analyzedSentences118
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1483
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1260
uniqueNames17
maxNameDensity0.87
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Quinn11
Seville1
Soho1
Raven1
Nest1
Tomás1
Herrera9
Wardour1
Street3
Christopher1
Court1
Road1
Camden4
High2
Tube1
Clicked1
London1
persons
0"Quinn"
1"Raven"
2"Tomás"
3"Herrera"
4"Christopher"
places
0"Seville"
1"Soho"
2"Wardour"
3"Street"
4"Court"
5"Road"
6"Camden"
7"High"
8"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences63
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.674
wordCount1483
matches
0"not in panic but in intervals, a man with a route planned"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences118
matches
0"knew that mouth"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs60
mean24.72
std21.08
cv0.853
sampleLengths
034
12
244
353
422
520
69
75
865
949
107
1157
1212
1352
1410
153
1667
1738
188
1913
2089
2119
2225
2325
2415
2538
2617
2743
284
2912
302
3123
326
3311
3425
3515
3618
3762
3847
3912
404
418
422
4335
4412
455
4625
473
4872
4941
94.41% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences97
matches
0"been chained"
1"been suffocated"
2"being paid"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs212
matches
0"was already crossing"
1"was heading"
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
wordCount1262
adjectiveStacks0
stackExamples(empty)
adverbCount34
adverbRatio0.02694136291600634
lyAdverbCount4
lyAdverbRatio0.003169572107765452
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
mean12.57
std10.94
cv0.87
sampleLengths
034
12
23
34
437
534
619
722
820
99
102
113
127
1327
1431
159
1619
172
1819
197
2012
2127
2210
238
2412
255
2634
274
281
291
307
3110
323
331
343
3530
362
3731
384
397
4011
4116
428
4313
4412
4524
4615
472
4836
494
69.49% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.4576271186440678
totalSentences118
uniqueOpeners54
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences84
matches
0"Of course he didn't."
1"Then he turned."
2"Then, from the tunnel mouth"
ratio0.036
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences84
matches
0"He didn't stop."
1"She'd watched the Raven's Nest"
2"He hurled a scaffold barrier"
3"She vaulted it, caught her"
4"He ducked into a service"
5"She followed, shoulders burning, and"
6"She hit the gate, hauled"
7"He rolled over the bonnet"
8"He was heading for Camden."
9"She could see it in"
10"She'd chased enough of them"
11"She knew that mouth."
12"His accent wrapped the word"
13"He laughed once, and there"
14"He held her gaze a"
15"He stepped through."
16"She looked down at the"
17"She'd carried it half a"
18"She thought about it now,"
19"Her thumb found the strap's"
ratio0.274
55.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount68
totalSentences84
matches
0"Herrera cleared a recycling bin"
1"He didn't stop."
2"She'd watched the Raven's Nest"
3"Tonight it had flickered, and"
4"He hurled a scaffold barrier"
5"She vaulted it, caught her"
6"Rain came down in sheets"
7"He ducked into a service"
8"She followed, shoulders burning, and"
9"Saint Christopher, patron of travellers,"
10"Patron saint of getting the"
11"She hit the gate, hauled"
12"Tottenham Court Road opened ahead,"
13"He rolled over the bonnet"
14"The driver's horn held one"
15"Quinn took the crossing when"
16"He was heading for Camden."
17"She could see it in"
18"Paramedics ran like that."
19"She'd chased enough of them"
ratio0.81
59.52% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences84
matches
0"Now the holdall bounced against"
ratio0.012
63.49% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount5
matches
0"Herrera cleared a recycling bin in one leap and Quinn hit the pavement a stride later, palm slapping wet stone, boots skidding through fried-onion grease outsid…"
1"Tottenham Court Road opened ahead, dual carriageway, no cover, and Herrera was already crossing against the lights, a bus bearing down on him with its wipers th…"
2"A lantern hung from a bracket beside it, and under the lantern sat a small woman with a shawl and hands that moved over a length of bone needles, knitting somet…"
3"Beyond it, a platform stretched into lamplight, and beyond the lamplight, the arches of the dead station flickered with a hundred small flames, stalls and awnin…"
4"A London voice, flat vowels and calm, the voice that had come through her radio every shift for six years, the voice on the recording she'd played so many times…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"He laughed once (laugh)"
dialogueSentences30
tagDensity0.1
leniency0.2
rawRatio0.333
effectiveRatio0.067
93.8395%