Run: 2026-10-07-01M4AV9TB8HN9A4MYJ41DVPJ9D

Run Details

Duration:
23.2s
Cost:
$0.023467
Provider:
Mistral

Model input

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

Model response

AI
The pavement spat rainwater under Harlow Quinn’s boots as she rounded the corner, her breath steady despite the burn in her lungs. The suspect—a lanky figure in a dark hoodie—darted between the shadows of Soho’s back alleys, his silhouette flickering under the sickly glow of a dying streetlamp. She’d been tailing him for twenty minutes, ever since he’d slipped something small and metallic into the pocket of a known fence outside The Raven’s Nest. The green neon sign of the bar still buzzed in her peripheral vision, its light bleeding into the wet cobblestones. She pushed harder, her leather watch strap biting into her wrist as she timed her steps. The suspect glanced back, his face half-hidden, but not before she caught the glint of fear in his eyes. Good. Fear made people sloppy. He veered left, into a narrow passage reeking of stale beer and something fouler—rotting meat, maybe, or the copper tang of old blood. Harlow didn’t hesitate. She took the turn at a sprint, her shoulder grazing the damp brick. The passage dead-ended at a rusted fire escape, its ladder already swinging as the suspect hauled himself up. She cursed under her breath, scanning for another route. There—a black door, half-hidden behind a stack of sodden crates. The wood was warped, the paint peeling, but the brass handle gleamed as if recently polished. She wrenched it open. The stairs beyond were steep, the air thick with the scent of damp earth and something else—ozone, maybe, or the faintest whiff of sulphur. The suspect’s footsteps echoed below, rapid, desperate. Harlow descended, her free hand trailing the wall for balance. The stone was slick, the light fading with every step until she was swallowed by darkness. Then, a flicker. A single bulb, bare and swinging, cast jagged shadows across the landing. The underground opened up before her. The Veil Market. Harlow’s pulse spiked. She’d heard whispers of this place—an abandoned Tube station repurposed as a black market for the city’s underbelly. The kind of place where the Metropolitan Police’s jurisdiction ended and something older, darker, began. The suspect had vanished into the labyrinth of stalls, their canopies patched together from mismatched fabrics, their wares glowing faintly under the dim, erratic lighting of lanterns and candles. She stepped forward, her boots crunching on something brittle—bone, maybe. The entry requirement, if the rumours were true. A bone token. She didn’t have one. A hand clamped around her wrist. “Lost, Detective?” Harlow twisted, her other hand flying to the pepper spray at her belt. Tomás Herrera stood there, his dark curls damp from the rain, the Saint Christopher medallion at his throat catching the light. His grip was firm but not threatening. She exhaled sharply. “Herrera. You’re a long way from your clinic.” “And you’re a long way from your precinct.” His thumb brushed the scar on his forearm, a habit she’d noticed before. “This isn’t your turf.” “He’s my suspect. Saw him pass something to Jimmy Cole outside the Nest. Small, metallic. Could be a weapon.” Tomás’s jaw tightened. “Or a key. Or a charm. Or a hundred things that’ll get you killed down here.” “Then help me.” A beat. The market’s hum—low murmurs, the clink of glass, the rustle of fabric—pressed in around them. Tomás released her wrist, his fingers lingering a second too long. “You don’t understand what you’re walking into.” “Then enlighten me.” He gestured to the stalls. “That one sells cursed jewellery. That one, bottled memories. The bloke in the corner? He trades in names. Real ones.” His voice dropped. “And over there—” He nodded toward a shadowed alcove where the air seemed to shimmer. “That’s where they deal in things that aren’t meant to be dealt in.” Harlow’s gaze flicked to the alcove. The suspect was there, hunched over a table, his hood now pulled back to reveal a gaunt face and a necklace of small, gleaming teeth. He was talking to a figure draped in a cloak the colour of dried blood. “He’s mine,” she said. Tomás blocked her path. “You don’t have a token. They’ll know you don’t belong.” “I’ll take my chances.” “You’ll get us both killed.” She sidestepped him. “Then stay here.” The market seemed to sense her intent. The murmurs died. Heads turned. A woman with eyes like polished obsidian watched her, lips curled into something that wasn’t quite a smile. Harlow ignored the prickle at the back of her neck and strode forward, her hand resting on the baton at her hip. The suspect spotted her. His eyes widened, and he bolted, knocking over a table laden with glass vials. They shattered, releasing a cloud of iridescent vapour that made her vision swim. Harlow coughed, waving a hand in front of her face, but didn’t slow down. She vaulted over the debris, her boots skidding on the slick stone. Tomás was suddenly beside her, his voice a growl. “I told you this was a bad idea.” “Shut up and keep up.” They wove through the stalls, the suspect dodging between shoppers with the agility of a rat. Harlow’s lungs burned, her muscles screaming, but she didn’t let up. The suspect ducked behind a curtain of beads, and she followed, shoving through them hard enough to send them clattering to the ground. The space beyond was a dead end. A single lantern cast long shadows across the walls, which were lined with shelves of jars. Inside each jar, something moved. Harlow didn’t look too closely. The suspect was gone. Tomás skidded to a halt beside her, his chest heaving. “There’s another exit. He’ll be heading for the old platform.” Harlow didn’t answer. Her gaze was locked on the jars. One of them pulsed with a faint, sickly light. Inside, a shadow coiled like smoke. “Quinn.” She tore her eyes away. “The platform.” They backtracked, the market’s denizens watching them with open hostility now. A man with too many teeth bared them in what might have been a grin. A child—no older than ten—held out a bone token, her small hand trembling. Harlow shook her head, and the girl’s face fell. The platform was a relic of the station’s past, its edges crumbling, the tracks beyond swallowed by darkness. The suspect stood at the far end, his back to them, his hands clutching the railing as if considering a dive into the abyss below. Harlow slowed, her baton now in her hand. “Police. Step away from the edge.” The suspect turned. His face was gaunt, his cheeks hollow, but his grin was wide, too wide. “Took you long enough, Detective.” Tomás grabbed her arm. “That’s not him.” Harlow’s blood turned to ice. The voice was wrong. Too deep. Too smooth. And the eyes— The suspect’s eyes were black. Not dark. Not shadowed. Black. Like oil. Like the void. “Run,” Tomás hissed. The thing that wasn’t the suspect lunged. Harlow didn’t think. She swung her baton, the crack of it connecting with something solid, but the figure didn’t flinch. It laughed, a sound like breaking glass, and swiped at her. Its nails were long, curved, and they sliced through her coat like it was paper. She stumbled back, her breath ragged. Tomás was already moving, snatching a lantern from a nearby stall and hurling it. The glass shattered against the thing’s chest, and for a second, it screamed, its body wreathed in flame. Then the fire died, snuffed out as if by an unseen hand. The thing advanced. Harlow’s back hit the wall. Nowhere to go. Nowhere to run. The thing’s breath was hot, reeking of decay. “Detective Quinn,” it whispered, her name a curse on its lips. “We’ve been waiting for you.” Tomás shoved her aside, a scalpel—where the hell had he got a scalpel?—flashing in his hand. He slashed, and the thing hissed, recoiling. Black blood spattered the stone. “Move!” Tomás grabbed her wrist, yanking her toward the stairs. Behind them, the thing shrieked, the sound echoing through the market like a physical blow. Harlow didn’t look back. She ran, her boots pounding up the steps, her heart hammering against her ribs. They burst into the alley, the rain a cold shock against her skin. The passage was empty. The door to the market swung shut behind them with a final, echoing thud. She bent over, her hands on her knees, gasping. “What the hell was that?” Tomás didn’t answer. His face was pale, his medallion cold against his skin. He stared at the door, then at her. “You shouldn’t have followed him.” Harlow straightened, her jaw set. “That thing knew my name.” “They all know your name, Detective.” His voice was grim. “You’ve been asking too many questions. About the Nest. About the things that happen there.” She wiped the rain from her face. “And what things are those, Tomás?” He didn’t answer. Instead, he reached into his coat and pulled out a small, metallic object. A bone token. “You’ll need this if you’re going back.” Harlow stared at it. “I’m not done with this.” “Yes, you are.” He pressed the token into her hand. “For tonight. But if you go back, you go alone. And you don’t come looking for me.” The rain fell harder, the drops like needles against her skin. She closed her fingers around the token. “Why give me this, then?” Tomás’s gaze was steady. “Because next time, you might not make it out.” A distant scream echoed from below, cut short. Harlow’s grip tightened. The door to the market creaked open, just a crack. Something slithered through the gap, a shadow with too many limbs, too many eyes. Tomás grabbed her arm. “Now, Detective. *Now.*”
created_at"2026-10-07T09:32:20.214Z" 10/7/2026, 9:32:20 AM
model"mistralai/mistral-medium-3.5-20260430"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2583
moderation_latency(null)
generation_time23151
tokens_prompt4484
tokens_completion2519
native_tokens_prompt4300
native_tokens_completion2269
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4224
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"
usage0.0234675
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791365540-GMXtz33Y6UfRDulji9VR"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791365540-kZBfLsVtAYAgcn8YjQwg"
upstream_id"acbc8634875a463790f4c11e52b92a50"
provider_responses
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endpoint_id"d21d316f-d540-4718-b36e-3beff85d0cf9"
id"acbc8634875a463790f4c11e52b92a50"
is_byokfalse
latency2583
model_permaslug"mistralai/mistral-medium-3.5-20260430"
provider_name"Mistral"
status200
total_cost0.0234675
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences42
tagDensity0.167
leniency0.333
rawRatio0
effectiveRatio0
93.83% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1622
totalAiIsmAdverbs2
found
0
adverb"sharply"
count1
1
adverb"suddenly"
count1
highlights
0"sharply"
1"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)
50.68% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1622
totalAiIsms16
found
0
word"glint"
count1
1
word"scanning"
count1
2
word"footsteps"
count1
3
word"echoed"
count2
4
word"flicker"
count1
5
word"pulse"
count1
6
word"charm"
count1
7
word"flicked"
count1
8
word"gleaming"
count1
9
word"shattered"
count2
10
word"pulsed"
count1
11
word"echoing"
count2
12
word"pounding"
count1
highlights
0"glint"
1"scanning"
2"footsteps"
3"echoed"
4"flicker"
5"pulse"
6"charm"
7"flicked"
8"gleaming"
9"shattered"
10"pulsed"
11"echoing"
12"pounding"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences143
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences143
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)
analyzedSentences176
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1610
ratio0.001
matches
0"Now."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
75.37% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1340
uniqueNames14
maxNameDensity1.49
worstName"Harlow"
maxWindowNameDensity2.5
worstWindowName"Harlow"
discoveredNames
Harlow20
Quinn1
Soho1
Raven1
Nest1
Veil1
Market1
Tube1
Metropolitan1
Police1
Herrera1
Saint1
Christopher1
Tomás14
persons
0"Harlow"
1"Quinn"
2"Market"
3"Police"
4"Herrera"
5"Saint"
6"Christopher"
7"Tomás"
places
0"Soho"
1"Raven"
globalScore0.754
windowScore0.833
92.53% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount2
matches
0"quite a smile"
1"as if considering a dive into the abyss below"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1610
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences176
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs66
mean24.39
std21.54
cv0.883
sampleLengths
094
140
292
34
472
56
63
765
825
96
102
1144
128
1325
1419
1519
163
1735
183
1956
2046
214
2214
234
245
256
2652
2757
2817
295
3050
3133
324
3320
3425
351
367
3748
3843
3914
4022
417
4216
4315
443
457
4646
4750
483
4935
92.99% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences143
matches
0"was warped"
1"was swallowed"
2"were lined"
3"was gone"
4"was locked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs224
matches
0"was talking"
1"was already moving"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount14
semicolonCount0
flaggedSentences10
totalSentences176
ratio0.057
matches
0"The suspect—a lanky figure in a dark hoodie—darted between the shadows of Soho’s back alleys, his silhouette flickering under the sickly glow of a dying streetlamp."
1"He veered left, into a narrow passage reeking of stale beer and something fouler—rotting meat, maybe, or the copper tang of old blood."
2"There—a black door, half-hidden behind a stack of sodden crates."
3"The stairs beyond were steep, the air thick with the scent of damp earth and something else—ozone, maybe, or the faintest whiff of sulphur."
4"She’d heard whispers of this place—an abandoned Tube station repurposed as a black market for the city’s underbelly."
5"She stepped forward, her boots crunching on something brittle—bone, maybe."
6"The market’s hum—low murmurs, the clink of glass, the rustle of fabric—pressed in around them."
7"A child—no older than ten—held out a bone token, her small hand trembling."
8"And the eyes—"
9"Tomás shoved her aside, a scalpel—where the hell had he got a scalpel?—flashing in his hand."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1355
adjectiveStacks0
stackExamples(empty)
adverbCount38
adverbRatio0.028044280442804426
lyAdverbCount8
lyAdverbRatio0.005904059040590406
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences176
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences176
mean9.15
std6.38
cv0.698
sampleLengths
022
126
226
320
416
519
61
74
823
93
1013
1118
129
1310
1416
154
1624
177
1810
1916
203
2112
226
233
243
2518
2615
2729
2810
298
303
314
326
332
3413
3521
367
373
388
3921
404
4119
423
4316
443
452
4615
4711
487
493
42.05% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2727272727272727
totalSentences176
uniqueOpeners48
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences132
matches
0"Then, a flicker."
1"Then the fire died, snuffed"
2"Nowhere to go."
3"Nowhere to run."
4"Instead, he reached into his"
ratio0.038
95.76% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences132
matches
0"She’d been tailing him for"
1"She pushed harder, her leather"
2"He veered left, into a"
3"She took the turn at"
4"She cursed under her breath,"
5"She wrenched it open."
6"She’d heard whispers of this"
7"She stepped forward, her boots"
8"She didn’t have one."
9"His grip was firm but"
10"She exhaled sharply."
11"His thumb brushed the scar"
12"He gestured to the stalls."
13"His voice dropped"
14"He nodded toward a shadowed"
15"He was talking to a"
16"She sidestepped him."
17"His eyes widened, and he"
18"They shattered, releasing a cloud"
19"She vaulted over the debris,"
ratio0.311
5.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount120
totalSentences132
matches
0"The pavement spat rainwater under"
1"The suspect—a lanky figure in"
2"She’d been tailing him for"
3"The green neon sign of"
4"She pushed harder, her leather"
5"The suspect glanced back, his"
6"Fear made people sloppy."
7"He veered left, into a"
8"Harlow didn’t hesitate."
9"She took the turn at"
10"The passage dead-ended at a"
11"She cursed under her breath,"
12"There—a black door, half-hidden behind"
13"The wood was warped, the"
14"She wrenched it open."
15"The stairs beyond were steep,"
16"The suspect’s footsteps echoed below,"
17"Harlow descended, her free hand"
18"The stone was slick, the"
19"A single bulb, bare and"
ratio0.909
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences132
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount3
matches
0"They shattered, releasing a cloud of iridescent vapour that made her vision swim."
1"The suspect stood at the far end, his back to them, his hands clutching the railing as if considering a dive into the abyss below."
2"She ran, her boots pounding up the steps, her heart hammering against her ribs."
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount1
matches
0"it whispered, her name a curse on its lips"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount2
fancyTags
0"Tomás hissed (hiss)"
1"it whispered (whisper)"
dialogueSentences42
tagDensity0.071
leniency0.143
rawRatio0.667
effectiveRatio0.095
83.4080%