Run: 2026-10-06-01M48W1YNXN3C7Z7F9VZAKFY0C

Run Details

Duration:
49.6s
Cost:
$0.006116
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. Darkness swallowed her whole. She counted to seven, the way Morris had taught her before the Thames took him, before the water gave back what it had stolen and left only questions festering in her chest. One. Two. Three. Four. Five. Six. Seven. Light bloomed ahead. Not electric. Something older. Bioluminescent fungus clinging to the curved brick walls of the abandoned Camden Town station, pulsing soft blue-green like a bruise beneath skin. The Veil Market. Quinn descended the final steps and found herself in a cavern of commerce. Stalls lined the disused platforms, their awnings stitched from leather and something that might have been membrane. Vendors hawked their wares in voices pitched low, conspiratorial. A woman with too many fingers sold vials of liquid that moved against gravity. A man with no shadow bartered in memories, his empty eye sockets weeping black fluid that evaporated before it hit the ground. She moved through the crowd with military precision, her worn leather watch ticking against her wrist, counting seconds she didn't have. The Metropolitan Police didn't officially acknowledge places like this. Unofficially, Quinn had spent eighteen months building a file on the clique that operated here. Three disappearances. Two murders. One case that had nearly cost her Morris his life, and her own sanity. Her phone buzzed. Text from an unknown number: *Platform 4. North end. Come alone.* Quinn's jaw tightened. She'd been followed. She found the body where the old northbound platform curved into darkness, past the last functioning stall, where the fungus grew thick enough to drown the market's ambient noise. A young woman lay sprawled across the tracks, her throat opened in a smile that Quinn had seen too many times before. Ritual. Symbolic. *Message.* But something else. Something wrong. "Detective Quinn." The voice emerged from the shadows with the smoothness of old money and older sins. "I wondered when you'd arrive." Quinn didn't turn. She studied the body instead. The victim's hands were folded neatly across her chest, fingers interlaced with the precision of a sleeping child. No blood on her palms. No defensive wounds. The throat wound was clean, surgical, yet the blood had pooled in a perfect circle around her head, as if poured rather than spilled. "DS Vance." Quinn finally turned. "You're early." "Three years early, actually." Vance stepped into the fungus-light, and Quinn saw the changes. The boy she'd trained with, the one who'd laughed at her theories about Morris's death, had aged a decade in eighteen months. His uniform hung loose on a frame that had once matched hers in discipline and bearing. "They told me you'd come. The ones who run this place. They have... sources." "Sources." Quinn crouched beside the body, ignoring the protocol that demanded she wait for forensics. The victim wore no jewellery, no identification. Her clothes were expensive but unremarkable, the kind that wouldn't draw attention in Mayfair or Kensington. Yet her shoes were wrong. Designer heels, yes, but scuffed at the toes, worn down from walking on surfaces that weren't pavement. "The clique," Vance said. "You've been hunting them for two years. I thought you'd want to know we found one of theirs." "This isn't their work." Quinn touched the victim's wrist, feeling for a pulse that wasn't there. Cold already. Rigor setting in. "Their kills are messy. Public. This is..." "Staged." Vance finished. He crouched beside her, close enough that she smelled the cigarettes on his breath, the ones he'd sworn off when they'd made detective together. "Someone's copying them. Or framing them. Or..." He hesitated. "Or it's a test. A message to us." Quinn stood. She walked the perimeter of the blood circle, her shoes crunching on something that wasn't gravel. She knelt again, fingers brushing the track bed. Fine white powder. Not flour. Not drugs. Salt, perhaps, or something that looked like salt in the blue-green light. "The circle's perfect," she said. "Measured. Whoever did this knew exactly how much blood to use, exactly where to place it. That's not ritual. That's theatre." "Or obsession." Vance's voice had changed, tightened. "Quinn, Morris's case. The one you never closed. The symbols they found at the scene. The waterlogged notebook. You remember what it said?" She remembered. *She walks between worlds. She opens the door.* And Morris, three days later, pulled from the Thames with his lungs full of water and his eyes replaced with river stones. "I remember," she said. "What if it wasn't about Morris? What if he was just... in the way?" Vance stood, brushing dust from his knees. "What if someone's been using his death to cover something else? Something bigger?" Quinn felt the old familiar pressure behind her eyes, the one that came when the case connected to itself in ways that shouldn't be possible. She pulled her phone from her pocket, thumb hovering over the camera. The text had come from a burner, of course. But the timing. The location. Someone in this market knew she was coming. Someone wanted her to find this body. "Who called you?" she asked. "Anonymous. Same as you, I'd wager." Vance's hand found his own wrist, touching a watch that wasn't there. A nervous habit, new. "But Quinn, there's something else. Something I found in the victim's pocket." He produced a small brass object, its surface etched with sigils that hurt to look at directly. The needle spun wildly, seeking something Quinn couldn't see. "A Veil Compass," she breathed. "You know what that is?" "I know it points to supernatural rifts. Portals." Vance's voice dropped. "And I know it's spinning toward something beneath this station. Something that wasn't here last week." Quinn took the compass. The verdigris patina felt wrong against her skin, too warm, almost alive. The needle quivered, pointing not down, but sideways, toward the dark tunnel where the old Victoria line had once run, where the tracks ended in a brick wall that had been mortared over decades ago. "There's nothing there," she said. "There wasn't." Vance's eyes met hers, and she saw the fear he'd been hiding since they'd found Morris. "But something's been digging. From the other side." The fungus-light flickered. Once. Twice. Then steadied, brighter than before, as if the darkness itself had drawn breath. Quinn stood, compass in hand, and walked toward the tunnel. Vance followed, his footsteps too loud, too human, in a place that had stopped being human long ago. The brick wall was still there. She touched it, feeling the mortar, cold and damp and wrong. Behind it, something moved. Not digging. Waiting. "Quinn." Vance's hand on her shoulder. "We should call for backup. The Met's occult liaison unit. They have protocols for—" "For what? Rifts? Portals?" She laughed, and the sound cracked in the tunnel's throat. "Morris died in a case with no body, no witnesses, no explanation. The Met closed it as an accident. Drowning. Open and shut." She turned to face him, this boy who had become a man who had become something she didn't recognise. "You want to know what I think, Vance? I think someone's been killing people for three years, and I think Morris found out what they were, and I think they put him in the Thames to make sure he never told anyone." "And this?" "This is the next step." Quinn raised the compass. The needle had stopped spinning, pointing directly at the wall, at the mortar, at the space between bricks where the darkness was thickest. "They want us to find this. They want us to open it." "Then we don't open it." "We don't." But Quinn was already moving, her fingers finding the gaps in the mortar, feeling for purchase, for weakness, for the seam where the wall ended and something else began. "We find out who wants us here. We find out why. And then we decide what to do about it." She pressed her palm flat against the bricks. The mortar was warm now. Pulsing. The compass in her other hand had gone still, its needle pointing straight down, as if gravity itself had changed direction. "Quinn." Vance's voice, distant. "The fungus. Look at the fungus." She looked. The bioluminescence was spreading, creeping up the walls, down the tracks, toward them in a tide of blue-green light. And in that light, she saw shapes moving in the market behind them. The vendors. The customers. All of them turned toward her, their faces wrong, their eyes reflecting the fungus-glow with something that wasn't quite human. "They know," she whispered. "Know what?" "That I'm coming for them." Quinn pulled her hand from the wall, leaving a print in the soft, yielding mortar. It didn't fade. It deepened, darkening, spreading, becoming a wound in the brick that wept black fluid onto the track bed. "That I'm going to burn this place down if I have to." The wall cracked. Not broke. Not shattered. *Cracked*, like an egg, like a shell, like something that had been waiting to be born. The fissure spread from her handprint, branching, reaching, and through it came the smell of river water and copper and something older, something that had no name in any language Quinn knew. Vance grabbed her arm. "Run." They ran. Behind them, the wall collapsed inward, not outward, as if something had pulled it from the other side, and the darkness that poured through was not empty. It was full. Full of shapes that moved without bodies, of voices that spoke without mouths, of a presence that turned Quinn's blood to ice and her compass needle to molten brass. She ran faster, Vance beside her, his hand still gripping her arm with desperate strength. The market screamed around them, the vendors and customers rising as one, their faces finally revealed in the fungus-light, beautiful and terrible and utterly inhuman. The turnstile. The bone token. She had seconds, maybe less. Quinn reached the stairs, the rusted metal groaning beneath her weight, and behind her, Vance stumbled, fell, something catching at his ankle with fingers that weren't fingers. "Go!" he shouted. "Don't look back! Don't—" The last word dissolved into something that wasn't a scream. Quinn ran. Up the steps, through the darkness, the bone token burning in her fist, the compass screaming in her pocket, its needle fused now, pointing nowhere, pointing everywhere, pointing at the thing that was climbing the stairs behind her with footsteps that matched her own. She burst into the Camden night, gasping, the cold air tearing at her lungs, and turned to see the tube entrance vomit black smoke, vomit shapes that dissolved in the streetlight, vomit a sound that was almost Morris's voice, almost a laugh, almost— She didn't wait to hear the rest. Quinn ran into the crowd, into the life, into the world of the living, her hand in her pocket closed around the compass, its brass casing now hot enough to brand, the sigils etched into its face glowing with their own inner light. She had found what she was looking for. And somewhere beneath Camden, something had found her.
created_at"2026-10-06T15:07:02.213Z" 10/6/2026, 3:07:02 PM
model"mistralai/mistral-large-4-0-20261006"
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latency928
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generation_time49555
tokens_prompt4492
tokens_completion2826
native_tokens_prompt4320
native_tokens_completion2567
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached3584
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num_input_audio_prompt(null)
num_media_completion0
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provider_responses
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags24
adverbTagCount0
adverbTags(empty)
dialogueSentences51
tagDensity0.471
leniency0.941
rawRatio0
effectiveRatio0
97.31% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1860
totalAiIsmAdverbs1
found
0
adverb"utterly"
count1
highlights
0"utterly"
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)
59.68% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1860
totalAiIsms15
found
0
word"electric"
count1
1
word"perfect"
count2
2
word"pulse"
count1
3
word"measured"
count1
4
word"familiar"
count1
5
word"etched"
count2
6
word"almost alive"
count1
7
word"quivered"
count1
8
word"flickered"
count1
9
word"footsteps"
count2
10
word"shattered"
count1
11
word"weight"
count1
highlights
0"electric"
1"perfect"
2"pulse"
3"measured"
4"familiar"
5"etched"
6"almost alive"
7"quivered"
8"flickered"
9"footsteps"
10"shattered"
11"weight"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences153
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences153
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences177
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords16
totalWords1860
ratio0.009
matches
0"Platform 4. North end. Come alone."
1"Message."
2"She walks between worlds. She opens the door."
3"Cracked"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions57
wordCount1475
uniqueNames14
maxNameDensity1.56
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Quinn23
Morris6
Thames2
Camden3
Town1
Veil1
Market1
Metropolitan1
Police1
Vance14
Mayfair1
Kensington1
Cold1
Victoria1
persons
0"Quinn"
1"Morris"
2"Market"
3"Police"
4"Vance"
5"Victoria"
places
0"Thames"
1"Camden"
2"Town"
3"Mayfair"
4"Kensington"
globalScore0.72
windowScore0.667
81.51% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences73
glossingSentenceCount2
matches
0"looked like salt in the blue-green light"
1"quite human"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.538
wordCount1860
matches
0"not down, but sideways, toward the dark tunnel"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences177
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs63
mean29.52
std22.05
cv0.747
sampleLengths
022
139
232
375
463
514
66
754
85
922
1058
117
1266
1360
1422
1528
1644
1745
1826
1930
2032
214
2234
2366
245
2534
2626
2710
2827
2951
305
3126
3218
3328
3424
3520
3698
372
3844
395
4051
4135
4210
4358
444
452
4653
473
4852
495
98.38% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences153
matches
0"been followed"
1"were folded"
2"been mortared"
74.69% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs266
matches
0"was coming"
1"was already moving"
2"was spreading"
3"was climbing"
4"was looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences177
ratio0.006
matches
0"She burst into the Camden night, gasping, the cold air tearing at her lungs, and turned to see the tube entrance vomit black smoke, vomit shapes that dissolved in the streetlight, vomit a sound that was almost Morris's voice, almost a laugh, almost—"
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1482
adjectiveStacks0
stackExamples(empty)
adverbCount49
adverbRatio0.033063427800269905
lyAdverbCount11
lyAdverbRatio0.007422402159244264
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences177
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences177
mean10.51
std9.87
cv0.939
sampleLengths
016
12
24
332
41
51
61
71
81
91
101
113
122
132
1422
153
1613
1717
189
1914
2022
2121
229
2315
242
252
2614
273
287
292
302
313
323
3329
3422
351
361
371
383
392
4017
415
423
435
4418
455
463
4724
485
492
59.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.4180790960451977
totalSentences177
uniqueOpeners74
62.89% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences106
matches
0"Unofficially, Quinn had spent eighteen"
1"Then steadied, brighter than before,"
ratio0.019
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences106
matches
0"She counted to seven, the"
1"She moved through the crowd"
2"Her phone buzzed."
3"She'd been followed."
4"She found the body where"
5"She studied the body instead."
6"His uniform hung loose on"
7"Her clothes were expensive but"
8"He crouched beside her, close"
9"She walked the perimeter of"
10"She knelt again, fingers brushing"
11"*She walks between worlds."
12"She opens the door.* And"
13"She pulled her phone from"
14"He produced a small brass"
15"She touched it, feeling the"
16"She laughed, and the sound"
17"She turned to face him,"
18"She pressed her palm flat"
19"It didn't fade."
ratio0.255
49.62% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount87
totalSentences106
matches
0"The bone token burned cold"
1"Darkness swallowed her whole."
2"She counted to seven, the"
3"Light bloomed ahead."
4"Bioluminescent fungus clinging to the"
5"The Veil Market."
6"Quinn descended the final steps"
7"Stalls lined the disused platforms,"
8"Vendors hawked their wares in"
9"A woman with too many"
10"A man with no shadow"
11"She moved through the crowd"
12"The Metropolitan Police didn't officially"
13"Her phone buzzed."
14"Quinn's jaw tightened."
15"She'd been followed."
16"She found the body where"
17"A young woman lay sprawled"
18"The voice emerged from the"
19"Quinn didn't turn."
ratio0.821
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences106
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount17
matches
0"A man with no shadow bartered in memories, his empty eye sockets weeping black fluid that evaporated before it hit the ground."
1"She moved through the crowd with military precision, her worn leather watch ticking against her wrist, counting seconds she didn't have."
2"One case that had nearly cost her Morris his life, and her own sanity."
3"Her clothes were expensive but unremarkable, the kind that wouldn't draw attention in Mayfair or Kensington."
4"She walked the perimeter of the blood circle, her shoes crunching on something that wasn't gravel."
5"Salt, perhaps, or something that looked like salt in the blue-green light."
6"Quinn felt the old familiar pressure behind her eyes, the one that came when the case connected to itself in ways that shouldn't be possible."
7"The needle quivered, pointing not down, but sideways, toward the dark tunnel where the old Victoria line had once run, where the tracks ended in a brick wall th…"
8"The compass in her other hand had gone still, its needle pointing straight down, as if gravity itself had changed direction."
9"All of them turned toward her, their faces wrong, their eyes reflecting the fungus-glow with something that wasn't quite human."
10"It deepened, darkening, spreading, becoming a wound in the brick that wept black fluid onto the track bed."
11"The fissure spread from her handprint, branching, reaching, and through it came the smell of river water and copper and something older, something that had no n…"
12"Behind them, the wall collapsed inward, not outward, as if something had pulled it from the other side, and the darkness that poured through was not empty."
13"Quinn reached the stairs, the rusted metal groaning beneath her weight, and behind her, Vance stumbled, fell, something catching at his ankle with fingers that …"
14"Up the steps, through the darkness, the bone token burning in her fist, the compass screaming in her pocket, its needle fused now, pointing nowhere, pointing ev…"
15"She burst into the Camden night, gasping, the cold air tearing at her lungs, and turned to see the tube entrance vomit black smoke, vomit shapes that dissolved …"
16"Quinn ran into the crowd, into the life, into the world of the living, her hand in her pocket closed around the compass, its brass casing now hot enough to bran…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags24
uselessAdditionCount0
matches(empty)
71.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount4
fancyTags
0"she breathed (breathe)"
1"She laughed (laugh)"
2"she whispered (whisper)"
3"he shouted (shout)"
dialogueSentences51
tagDensity0.176
leniency0.353
rawRatio0.444
effectiveRatio0.157
84.0609%