Run: 2026-10-06-01M48VYNFKHMVR7GYSZPK2K3NG

Run Details

Duration:
1m 8s
Cost:
$0.007726
Provider:
Mistral

Model input

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

Model response

AI
The bone token burned cold against Quinn's palm as she pressed it to the rusted turnstile. Metal shrieked. Somewhere below, the abandoned Camden Town station exhaled a breath of stale air that smelled of ozone and wet stone. She descended the final step and found Eva already waiting, her worn leather satchel clutched against her freckled throat, round glasses fogged from the temperature drop. "You're early." Eva's voice echoed off the tiled walls. She tucked a curl of red hair behind her left ear. "Or I'm late. The Market moves when it wants." Quinn didn't answer. She was watching the stalls. The Veil Market sprawled through the old platform tunnels like a fever dream. Bioluminescent fungi clung to the ceiling in bruised clusters of violet and green. A Shade artisan haggled with a woman in a vintage 1940s dress over the price of a jar of something that moved against the glass. Three stalls down, a man with too many fingers sold memory extracts in crystal vials, each one labelled with a date and a name in cramped handwriting. But Quinn had come for the body. She found it in the eastern tunnel, where the Market's permanent residents kept their distance. The forensic team had already been and gone, leaving behind the telltale chalk outline that no longer matched anything. A woman lay on her back, mid-thirties, dressed in a charcoal suit that cost more than Quinn's monthly salary. Her eyes were open. Her mouth was open. Her throat had been opened too, but the blood had pooled wrong, congealing in a perfect circle around her head like a halo drawn by a child with a ruler. "Metropolitan Police," Quinn said, though there was no one to announce herself to. "Scene's contaminated." Eva stepped closer, her boots crunching on something that might have been glass. "They took the obvious. Wallet, phone, the ring on her left hand. Classic staging." "Or she didn't have a wallet." "She had a wallet." Eva crouched, satchel thumping against her knee. "I checked. This morning, before the Market opened. She was at the coffee stall in the northern tunnel. Paid cash. Left a twenty-pound note as tip." Quinn's jaw tightened. "You were here this morning?" "I research here." Eva didn't look up. "Restricted archives, remember? The Market's one of my sources. I come for the texts, stay for the atmosphere." The atmosphere killed people, apparently. Quinn knelt beside the body. The woman's suit was Italian, hand-stitched. The lining bore a monogram: M.V. The shoes were Louboutin, the soles barely worn. Someone with money, then. Someone who didn't dress for a mugging. She turned the woman's head. The wound was precise, a single clean incision from ear to ear. Professional. Surgical. The kind of cut that required a scalpel and a steady hand, not a knife wielded in panic. "Throat's been opened," Quinn said. "Carotid, both sides. She should have bled out in ninety seconds." "She did." "Then why is the blood pattern wrong?" Eva finally looked up. Her green eyes caught the fungal light. "Because she was already dead when they cut her." Quinn felt something cold settle in her chest. Three years ago, DS Morris had been found in an alley off Brick Lane with his throat opened. The official report said mugging. Quinn had never believed it. The blood pattern had been wrong then too, pooling in impossible directions, congealing too quickly, as if the body had been cooling for hours before the fatal wound. "Check her temperature," Quinn said. "I did." Eva's fingers brushed the woman's wrist, then recoiled. "Room temperature. Maybe lower. The Market's always cold, but this..." "This is corpse cold." They stood. Around them, the Market continued its commerce in shadows and secrets. A woman with eyes like cracked amber sold prophecies by the hour. A child no older than ten offered to read palms for a bone token, his small hands steady as a surgeon's. Quinn walked to the chalk outline. It didn't match the body. The outline was longer, the arms spread wider, the head turned to the left. The woman on the ground lay straight, arms at her sides, face tilted slightly right. "They moved her," Quinn said. "After she died. After she cooled." Eva's voice had gone flat, the researcher's mask slipping to reveal something harder underneath. "Quinn, what if it's the same?" "What if what is the same?" "The method. The staging. The—" Eva stopped, shook her head. "Morris. Your partner. Three years ago." Quinn's hand found the worn leather watch on her left wrist. She had wound it that morning, as she wound it every morning, and felt the familiar tick against her pulse. Eighteen years of service. Eighteen years of believing that the world made sense, that evidence added up, that the truth was waiting to be found if you looked hard enough. She had looked. She had never stopped looking. "Morris wasn't mugged," Quinn said. It wasn't a question. "No." Eva's satchel slipped from her shoulder. She caught it, adjusted the strap. "He was already dead when they cut him. I found the report. Buried in the restricted files, marked as administrative error. The blood pattern, Quinn. It was identical. Pooling wrong. Congealing too fast. The ME wrote it off as shock, as trauma, as the cold night air. But I read the notes. I read them three times." "Why didn't you come forward?" Eva's laugh was sharp, humourless. "With what? A theory? A pattern? You know how this works. Without a body that's still warm, without a witness, without—" She gestured at the Market, at the impossible commerce happening around them. "Without proof that any of this is real, they'd have me sectioned before I finished the sentence." Quinn thought of Morris's face in the morgue. The way his eyes had been open, staring at nothing, as if he'd seen something that had already happened. The way the blood had formed that perfect circle, that halo, as if he'd been canonised in his own death. "This woman," Quinn said. "M.V. Do we know who she is?" Eva shook her head. "No ID. No wallet. But I recognised the suit. I saw her here yesterday, arguing with a Shade artisan about a Veil Compass. She wanted one that pointed to something specific, not just the nearest rift. She said the standard ones were useless, that they spun like drunk flies near strong magic." "And the artisan?" "Sold her something else. A brass compass with protective sigils etched on the face. I saw him hand it over. The patina was verdigris, old, genuine." Eva's fingers found her hair again, tucking it behind her ear. "She paid in bone tokens. Three of them. The artisan counted them twice, like he didn't believe they were real." Quinn stood. The fungal light pulsed overhead, slow as a heartbeat. Somewhere in the Market, a bell tolled, marking the hour or the half-hour or some other time that had nothing to do with the world above. "The Veil Compass," Quinn said. "It points to supernatural rifts. Portals." "She was hunting something." Eva's voice dropped. "Or someone." Quinn walked back to the body. She looked at the woman's hands, still graceful even in death, the nails manicured, the skin unmarked. No defensive wounds. No sign of struggle. She had been killed by someone she trusted, or by something that didn't need to struggle. She looked at the throat again. The incision was perfect, surgical, but there was something else. A faint bruising around the wound, not from the blade but from fingers. Thumbs, pressing too hard, holding the head still while the knife did its work. "She was held," Quinn said. "Someone held her head. Someone she knew." Eva was beside her now, close enough that Quinn could smell the old paper and bergamot that clung to her satchel. "Quinn. The chalk outline. It doesn't match the body because they moved her. But why move her? Why stage a mugging in a place where everyone knows the rules?" "Because the rules don't apply to what killed her." "Then what does?" Quinn reached into her pocket and found the bone token she'd used to enter. It was warm now, warmer than it should be, pulsing with a faint vibration that she felt in her teeth. She turned it over. On the reverse, barely visible, a symbol she'd seen before in Morris's case files. A spiral, broken, with three dots at its centre. "The same mark," Quinn said. "On Morris's case. On the alley wall, washed away by rain but visible in the crime scene photos. On the token." Eva's hand closed around Quinn's wrist. Her fingers were cold. "Quinn, we need to leave. Now. The Market's closing early tonight, and when it closes, the tunnels seal. We'll be trapped until the next full moon." "There's no next full moon for us. Not if we're already dead." She pulled her wrist free. The token burned in her palm. Around them, the stalls were packing up, the bioluminescent fungi dimming to embers, the Shade artisan with too many fingers watching them with eyes that reflected no light. Quinn walked to the edge of the platform, where the tunnel curved into darkness. The Veil Compass pointed toward the nearest rift, the nearest portal, the nearest place where the world tore open and let something through. She had spent three years looking for Morris's killer in the world of the living. She was done looking in the wrong place. "Show me where she bought the compass," Quinn said. "And Eva? Don't touch anything. Don't speak to anyone. And if you see something that shouldn't exist, don't look at it directly. That's how they get you." Eva's laugh was a broken thing. "Too late for that, Detective. I've been looking for three years too." The darkness at the tunnel's mouth breathed. It smelled of copper and ozone and the particular silence of a place where sound went to die. Quinn stepped into it, and the Market sealed behind her like a wound closing.
created_at"2026-10-06T15:05:14.495Z" 10/6/2026, 3:05:14 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency877
moderation_latency(null)
generation_time67989
tokens_prompt4492
tokens_completion2478
native_tokens_prompt4320
native_tokens_completion2291
native_tokens_completion_images(null)
native_tokens_reasoning0
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"default"
usage0.00772579
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791299114-B1UULF1JDtNs9DoVJc0y"
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api_type"completions"
id"gen-1791299114-jLTc32LWB5DDxkRfPM80"
upstream_id"a4e45791e6ce487e9e25b48a7b955ab5"
provider_responses
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endpoint_id"540e63db-cc7c-4556-bb67-d449579bcf1a"
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is_byokfalse
latency877
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
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cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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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
totalTags20
adverbTagCount0
adverbTags(empty)
dialogueSentences54
tagDensity0.37
leniency0.741
rawRatio0
effectiveRatio0
94.04% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1679
totalAiIsmAdverbs2
found
0
adverb"quickly"
count1
1
adverb"slightly"
count1
highlights
0"quickly"
1"slightly"
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)
67.24% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1679
totalAiIsms11
found
0
word"echoed"
count1
1
word"crystal"
count1
2
word"perfect"
count3
3
word"familiar"
count1
4
word"pulse"
count1
5
word"standard"
count1
6
word"etched"
count1
7
word"pulsed"
count1
8
word"silence"
count1
highlights
0"echoed"
1"crystal"
2"perfect"
3"familiar"
4"pulse"
5"standard"
6"etched"
7"pulsed"
8"silence"
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
narrationSentences111
matches
0"d in panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences111
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences145
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen57
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1679
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
24.66% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions66
wordCount1117
uniqueNames13
maxNameDensity2.51
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Quinn28
Camden1
Town1
Eva17
Veil2
Market6
Shade2
Italian1
Louboutin1
Morris4
Brick1
Lane1
Compass1
persons
0"Quinn"
1"Eva"
2"Market"
3"Morris"
4"Compass"
places
0"Camden"
1"Town"
2"Brick"
3"Lane"
globalScore0.247
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.596
wordCount1679
matches
0"not from the blade but from fingers"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences145
matches
0"believing that the up, that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs61
mean27.52
std21.2
cv0.77
sampleLengths
038
126
229
38
478
57
691
715
827
96
1037
118
1225
135
1436
1537
1616
172
187
1920
2064
215
2220
234
2446
2540
265
2726
286
2916
3061
318
329
3370
345
3555
3647
3711
3856
393
4057
4137
4211
439
4446
4543
4612
4750
489
493
89.46% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences111
matches
0"been opened"
1"been found"
2"been open"
3"been canonised"
4"been killed"
93.62% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs188
matches
0"was watching"
1"was waiting"
2"were packing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences145
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1120
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.029464285714285714
lyAdverbCount7
lyAdverbRatio0.00625
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences145
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences145
mean11.58
std9.28
cv0.802
sampleLengths
016
12
220
326
49
511
69
73
85
913
1013
1125
1227
137
1415
1519
1619
174
184
1930
2013
212
2213
2314
246
2511
2626
273
285
297
3018
315
325
336
346
358
364
377
385
3912
401
411
4218
435
4411
452
467
474
487
499
45.06% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.32413793103448274
totalSentences145
uniqueOpeners47
68.73% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences97
matches
0"Somewhere below, the abandoned Camden"
1"Somewhere in the Market, a"
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences97
matches
0"She descended the final step"
1"She tucked a curl of"
2"She was watching the stalls."
3"She found it in the"
4"Her eyes were open."
5"Her mouth was open."
6"Her throat had been opened"
7"She turned the woman's head."
8"Her green eyes caught the"
9"It didn't match the body."
10"She had wound it that"
11"She had looked."
12"She had never stopped looking."
13"It wasn't a question."
14"She caught it, adjusted the"
15"She gestured at the Market,"
16"She looked at the woman's"
17"She had been killed by"
18"She looked at the throat"
19"It was warm now, warmer"
ratio0.268
21.86% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount85
totalSentences97
matches
0"The bone token burned cold"
1"She descended the final step"
2"Eva's voice echoed off the"
3"She tucked a curl of"
4"Quinn didn't answer."
5"She was watching the stalls."
6"The Veil Market sprawled through"
7"Bioluminescent fungi clung to the"
8"A Shade artisan haggled with"
9"She found it in the"
10"The forensic team had already"
11"A woman lay on her"
12"Her eyes were open."
13"Her mouth was open."
14"Her throat had been opened"
15"Quinn said, though there was"
16"Eva stepped closer, her boots"
17"Eva crouched, satchel thumping against"
18"Quinn's jaw tightened."
19"Eva didn't look up"
ratio0.876
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
59.80% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount5
matches
0"Somewhere below, the abandoned Camden Town station exhaled a breath of stale air that smelled of ozone and wet stone."
1"Eva stepped closer, her boots crunching on something that might have been glass."
2"The blood pattern had been wrong then too, pooling in impossible directions, congealing too quickly, as if the body had been cooling for hours before the fatal …"
3"Somewhere in the Market, a bell tolled, marking the hour or the half-hour or some other time that had nothing to do with the world above."
4"Around them, the stalls were packing up, the bioluminescent fungi dimming to embers, the Shade artisan with too many fingers watching them with eyes that reflec…"
75.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount2
matches
0"Eva crouched, satchel thumping against her knee"
1"Eva's voice had, the researcher's mask slipping to reveal something harder underneath"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount0
fancyTags(empty)
dialogueSentences54
tagDensity0.185
leniency0.37
rawRatio0
effectiveRatio0
84.6489%