Run: 2026-10-20-01M5C6BBY7YH05GTZ186HMVRFR

Run Details

Duration:
29.7s
Cost:
$0.001638
Provider:
InferenceNet

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
Salt ground under Quinn's knee. Not the grit of forty years of dust and pigeon droppings, but a hard, crystalline crust that crackled when she shifted her weight. She scraped a thumbnail along the dead man's collar and lifted a pinch of it to her tongue. Brine. Sharp and old. "Don't do that." Quinn wiped her thumb on her trouser leg and looked up. DS Marcus Deane stood at the lip of the plunge pool, hands in his coat pockets, his breath pluming in the cold. "Three years of crime scenes and you still flinch when I taste things," she said. "I flinch when you taste corpses. It's not a character flaw." She rose. The plunge pool was a rectangle of pale green tiles set seven feet below the floor of the old Camden Turkish baths, drained since the seventies, its steps furred with mould. Arthur Penhale lay at the bottom in a good navy suit, arms folded, shoes polished, hair combed. Dropped there like a coat on a chair. The building had closed decades back. The baths had sat behind a padlocked door on the mezzanine, and tonight a security guard on his rounds had found the padlock cut and the lights burning. Every lamp in the place, every one. Twelve hundred a quarter, the electricity bill. "Tell me what I'm looking at," Quinn said. "Forty-six. Wallet in the jacket, Arthur Penhale, address in Islington. No defensive wounds. No signs of a struggle anywhere in the building." Deane gestured at the tiled walls, the ornamental niche at the far end, the dark mouths of the boiler flues. "Somebody killed him somewhere warm and dry, then brought him here and staged it. Ritual, the papers will say. Backwards sigils on the tiles, that sort of thing." "There aren't any backwards sigils." "There's a whole bloody wall of them." "That wall is 1897." Quinn climbed the steps out of the pool and crossed to the mosaic frieze, running her fingers over the blue and ochre tessera. "Ottoman revival. Crescent, star, interlaced knotwork. Half of Camden's public architecture had this on it. Some Edwardian tiler's idea of the East." Deane looked at the frieze. Then at her. "Fine. Then it's a dumping ground. Drug debt, or a message to somebody, and they picked a place that would make the six o'clock news jump." "The six o'clock news loves a ritual. So does the man who staged this." "Staged," Deane repeated, drawing the word out. "You're saying it's not occult, it's pretend occult?" "I'm saying nothing in this room is accidental." She crouched beside Penhale's left hand. The nails were clean, buffed, filed square. A working man's nails, done at a salon. "Look at his watch." "Rolex. Copies cost you two grand on the Market." "Look at which wrist." Deane leaned in. The watch strap rode high on Penhale's right forearm, the face turned inwards. "Left-handed men wear it on the right," he said. "So he was left-handed." "Then why are his shoes tied the wrong way round?" Quinn pointed at the oxfords. The laces crossed over, not under, the bow tucked. "I've arrested a hundred left-handed men. Not one ties his laces like that. A right-handed man kneels at the foot and does it for him." She straightened. "He's dressed. Someone dressed him, and did it in a hurry, and did it wrong." Deane took a slow breath through his nose. "Or his missus laid him out. That happens. Family gets sentimental." "His missus is in Portugal with her sister since Tuesday. I rang her from the car." The silence stretched. Somewhere above, a fluorescent tube buzzed against the ceiling like a fly in a jar. "Then say it plainly," Deane said. "What's your version?" Quinn crouched again and turned Penhale's collar down. The skin beneath was grey and papery, and along it, in a crust, the salt. "He drowned," she said. "There's water in his lungs. The pathologist will tell you that within the hour, and he'll tell you the water was saline, and then we'll all have to have a very interesting conversation about how a man drowns in brine in a dry pool in Camden." Deane's jaw worked. "The canal's twenty minutes away. There's a lock at Hawley. It's brackish, the tide gets up there." "The tide doesn't get up there in September, and the lock water is brown. This is sea. This is not just mineral, this is sea." She held up her salt-blackened thumbnail. "And his cuff is crusted with it. His collar. Inside his left ear. Wherever he drowned, he went under facing left and he went under slowly." "You can't know it was slow from salt." "I can know it from his hands." She turned Penhale's palms up. The fingertips were puckered, blanched white, wrinkled like a man three hours out of a bath. "That's immersion skin. That takes a long time in water. He didn't go in and come out. He stewed." Deane pulled off his glasses, polished them on his sleeve, put them back. His hands weren't quite steady, and Quinn had known him long enough to know he wasn't frightened of corpses. He was frightened of cases that wouldn't close. "So it's a drowning," he said at last, "in water that isn't here, and a body that someone brought here and dressed badly. That's not a story. That's a list of questions." "No," Quinn said. "That's a story. We just haven't found the first page." She checked the pockets herself. Keys, a handkerchief folded in quarters, a phone with no messages in it and a battery at forty per cent. No cash, no cards, no wallet notes, nothing a thief would want. Then she slid her fingers into each shoe in turn, and in the right one, wedged under the arch, her knuckle found something smooth. She shook it out into her palm. A knucklebone, drilled through and threaded on a waxed cord, the bone stained a deep amber and polished by handling. Fine scratches spiralled its surface, too deliberate to be wear. Something cold turned over behind her ribs. She had seen one before. Three years ago, in a bag of personal effects she wasn't supposed to open, on a night she had spent explaining to a superintendent why DS Morris had gone into a building alone. "What is it?" Deane said. "Nothing I'll say out loud in front of the scene log." She closed her fist. "Where's the drain?" "The what?" "Every pool has a drain. A sump. Where the water went." He waved at the deep end. "Somewhere down there." Quinn went back down the tiled steps two at a time, her heels ringing, and crouched at the deep end where the floor sloped into a shallow bowl of mould, and there in the centre, a brass grille the size of a dinner plate, set into the tile with six screws. All six bright. All six new. She put her ear close to it. The grate breathed. Warm air, damp, moving out and pulling back, out and back, like a sleeper with a bad chest. "Marcus." "What?" "Get everyone up on the mezzanine. Now." "Don't do that. Don't do the thing where you go strange on me and won't say why." "Because there's air moving through a forty-year-old sump, and because someone unscrewed that grille recently, and because there's a man at the bottom of this pool who drowned in seawater in a building where the pipes were cut in 1979." She looked up at him. "And because I have been in a room marked off with tape, with a colleague I trusted, when something came through the wall." Deane opened his mouth. Above them, the pipes in the ceiling groaned, all at once, a long complaint of old iron taking a load it hadn't taken in decades. Then, at the far end of the pool, the tarnished copper tap over the deep-end basin turned a quarter, as if a hand had cupped it, and water began to pour into the dry bowl. Not brown. Not rusty. Clear, and silvered, and it ran over the tiles and pooled around the drain and touched the leather of Penhale's polished shoes, and Quinn, crouching at the edge of it, smelled the whole cold sea.
created_at"2026-10-20T08:20:21.583Z" 10/20/2026, 8:20:21 AM
model"deepseek/deepseek-v4.1-flash-20261017"
app_id182717
external_user(null)
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cancelledfalse
latency129
moderation_latency(null)
generation_time29633
tokens_prompt4492
tokens_completion3406
native_tokens_prompt4250
native_tokens_completion3204
native_tokens_completion_images(null)
native_tokens_reasoning1352
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"
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model_permaslug"deepseek/deepseek-v4.1-flash-20261017"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences50
tagDensity0.36
leniency0.72
rawRatio0
effectiveRatio0
92.77% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1383
totalAiIsmAdverbs2
found
0
adverb"very"
count1
1
adverb"slowly"
count1
highlights
0"very"
1"slowly"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Marcus"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
85.54% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1383
totalAiIsms4
found
0
word"crystalline"
count1
1
word"weight"
count1
2
word"mosaic"
count1
3
word"silence"
count1
highlights
0"crystalline"
1"weight"
2"mosaic"
3"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
emotionTells0
narrationSentences73
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences73
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences105
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen51
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1383
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount782
uniqueNames7
maxNameDensity1.41
worstName"Deane"
maxWindowNameDensity4
worstWindowName"Deane"
discoveredNames
Quinn10
Marcus1
Deane11
Camden1
Turkish1
Penhale6
Morris1
persons
0"Quinn"
1"Marcus"
2"Deane"
3"Penhale"
4"Morris"
places(empty)
globalScore0.797
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences43
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.723
wordCount1383
matches
0"Not the grit of forty years of dust and pigeon droppings, but a hard, crystalline crust"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences105
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs53
mean26.09
std19.98
cv0.766
sampleLengths
046
14
23
333
415
511
658
748
88
970
105
117
1249
1334
1414
1515
1633
179
184
1916
2013
2166
2219
2316
2418
259
2623
2750
2820
2957
308
3147
3240
3332
3413
3561
3637
3745
385
3918
402
4111
429
4357
4428
451
461
477
4817
4968
95.65% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences73
matches
0"were puckered"
1"was frightened"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs125
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences105
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount784
adjectiveStacks1
stackExamples
0"cold turned over behind her"
adverbCount12
adverbRatio0.015306122448979591
lyAdverbCount1
lyAdverbRatio0.0012755102040816326
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences105
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences105
mean13.17
std10.98
cv0.833
sampleLengths
05
123
218
31
43
53
611
722
815
911
102
1131
1217
138
146
1528
167
177
188
1942
2028
215
227
2327
2422
255
263
2726
2814
297
308
3114
327
338
344
359
364
373
3813
399
404
4115
429
4327
4415
458
4611
4716
483
4915
73.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.4666666666666667
totalSentences105
uniqueOpeners49
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences61
matches
0"Then at her."
1"Somewhere above, a fluorescent tube"
2"Then she slid her fingers"
3"Then, at the far end"
ratio0.066
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount14
totalSentences61
matches
0"She scraped a thumbnail along"
1"She crouched beside Penhale's left"
2"She held up her salt-blackened"
3"She turned Penhale's palms up"
4"His hands weren't quite steady,"
5"He was frightened of cases"
6"he said at last"
7"She checked the pockets herself."
8"She shook it out into"
9"She had seen one before."
10"She closed her fist"
11"He waved at the deep"
12"She put her ear close"
13"She looked up at him"
ratio0.23
99.34% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount44
totalSentences61
matches
0"Salt ground under Quinn's knee."
1"She scraped a thumbnail along"
2"Quinn wiped her thumb on"
3"DS Marcus Deane stood at"
4"The plunge pool was a"
5"Arthur Penhale lay at the"
6"The building had closed decades"
7"The baths had sat behind"
8"Every lamp in the place,"
9"Deane gestured at the tiled"
10"Quinn climbed the steps out"
11"Deane looked at the frieze."
12"Deane repeated, drawing the word"
13"She crouched beside Penhale's left"
14"The nails were clean, buffed,"
15"A working man's nails, done"
16"Deane leaned in."
17"The watch strap rode high"
18"Quinn pointed at the oxfords"
19"The laces crossed over, not"
ratio0.721
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences61
matches(empty)
ratio0
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences24
technicalSentenceCount2
matches
0"Not the grit of forty years of dust and pigeon droppings, but a hard, crystalline crust that crackled when she shifted her weight."
1"Then, at the far end of the pool, the tarnished copper tap over the deep-end basin turned a quarter, as if a hand had cupped it, and water began to pour into th…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount1
fancyTags
0"Deane repeated (repeat)"
dialogueSentences50
tagDensity0.18
leniency0.36
rawRatio0.111
effectiveRatio0.04
91.2328%