02 August 2026

AIn't Necessarily So, Part 2


AI robots writing essays like this one
Part II — A Rigorous Approach to Identifying AI‑Generated Writing

Last time, we focused on fuzzy ‘soft’ clues in determining AI fingerprints in text, especially identifying common phrases and constructs. Computer people refer to fuzzy methods as heuristics.

We noted triplets.
“He was tall, dark, and handsome.”
We noted parallel negatives.
“It wasn’t black. It wasn’t white. It was charcoal grey.”
We noted common phraseology.
“It’s not just warm, it’s burning.”

Today we slide away from soft dissection to hard facts and more scientific methods. Assertions have been made that combining hard and soft techniques can result in 80-90% accuracy. Google claims it can identify close to 98%.

Note that I used Google Gemini and Microsoft Copilot to research and organize this, part 2 of this article. Thus throughout, you’ll notice artifacts as unintended examples.

Objective Linguistic Signals, Statistical Profiles, and Computational Methods

While intuitive reading can reveal stylistic quirks that feel artificial, a scientific approach to AI‑text detection relies on measurable linguistic properties. These properties emerge from how large language models generate text: token by token, guided by probability distributions learned from massive corpora. By analyzing those distributions, we can identify patterns that differ from human writing in consistent, quantifiable ways.

This section outlines the major pillars of a hard, objective approach — the kind that complements your Part I by grounding intuition in data.

➀ Lexical Analysis: Measuring Word‑Level Patterns

Lexical analysis examines the words themselves — their frequency, diversity, and distribution. AI‑generated text tends to exhibit:

  • Lower lexical diversity — measured via type–token ratio; AI favors mid‑probability vocabulary.
  • Function‑word overuse — glue words like however, moreover, indeed, additionally.
  • Uniform vocabulary patterns — humans spike unpredictably into slang, rare words, or idiosyncratic phrasing.
  • Rare‑word avoidance — models avoid low‑probability tokens unless prompted.

These signals arise because AI models optimize for clarity and coherence, which pushes them toward “safe,” middle‑probability word choices.

➁ Syntax Analysis: Sentence Structure and Rhythm

Syntax analysis examines how sentences are built — clause structure, punctuation, and rhythm. AI text often shows:

  • Consistent clause length — sentences follow similar patterns and pacing.
  • Over‑regular grammar — few deviations, few fragments, few stylistic breaks.
  • Predictable transitionsMoreover, In addition, Ultimately, However.
  • Low syntactic entropy — humans vary complexity more dramatically.
  • This uniformity reflects the model’s goal: maximize coherence and minimize confusion.

    ➂ Punctuation

    Perhaps I give less credence to punctuation than I should because the Macintosh option key makes typographical life easy. Instead of two hyphens to simulate an n-dash, option-hyphen plugs in a real dash. Likewise, option-colon drops in a true ellipsis instead of typing three dots.

    Even without a Mac, word processors like Microsoft Word performs conversions such as transforming flat quotation marks to curly quotes, thus my reluctance to attach too much attention to perfected punctuation.

    That said, AIs sprinkle in more m-dashes than a breathless self-published Mary Sue story. Current AIs throw in a lot of dashes, the really wide ones.

    Perfected Punctuation
    character human proper
    ellipsis...
    n-dash--
    m-dash--
    single quote'‘’
    double quote"“”

    ➃ Semantic Analysis: Meaning, Depth, and Conceptual Structure

    Semantic analysis looks at how ideas are organized and expressed. AI text tends to exhibit:

  • High semantic consistency — few contradictions or digressions.
  • Topic over‑coverage — AI exhaustively lists subtopics to “cover the space.”
  • Shallow originality — limited conceptual leaps unless prompted.
  • Generic framing — broad, universal statements anchoring paragraphs.
  • Humans, by contrast, often wander, contradict themselves, or introduce unexpected angles.

    ➄ Perplexity: Statistical Predictability of Text

    Perplexity measures how surprising a passage is to a language model.

  • Low perplexity → predictable → typical of AI
  • High perplexity → surprising → typical of humans
  • AI‑generated text tends to have very low perplexity, because it is produced by the same statistical engine used to measure it. Tools that use perplexity include:

  • GPTZero
  • OpenAI’s classifier
  • Cross‑entropy scoring
  • Edited AI text, however, can raise perplexity — making detection harder.

    ➅ Burstiness: Variation in Sentence Length and Complexity

    Burstiness measures how much sentence structure varies.

    • Humans show:
      • Long sentences
      • Short fragments
      • Abrupt shifts
      • Irregular rhythm
    • AI shows:
      • Low burstiness
      • Smooth, even pacing

    Burstiness is one of the strongest statistical indicators of human authorship, especially in long‑form writing.

    ➆ Stylometric Fingerprinting: Author Identity Through Writing Style

    Stylometry analyzes the “fingerprint” of an author’s writing style — their idiolect, quirks, and habits. AI text typically lacks:

  • Idiolect — no personal quirks or signature phrasing.
  • Stylistic variability — humans shift tone depending on mood, audience, or genre.
  • Natural digressions — AI rarely meanders.
  • Stylometric tools include:

  • JStylo
  • Writeprints
  • Signature stylometric analysis
  • These methods are especially powerful given long samples.

    ➇ Structural and Metadata Clues

    Even when prose looks human, structural patterns can reveal AI origin. Common signals include:

  • Perfect paragraph symmetry
  • Overuse of enumerated lists — AIs love lists
  • Overuse of bulleted lists — Consider this an example
  • Predictable section ordering
  • Lack of temporal markers — humans reference time, place, personal context.
  • These clues often appear in polished AI essays and reports.

    ➈ Hybrid Detection Tools: Combining Multiple Signals

    Modern detectors combine perplexity, burstiness, stylometry, and semantic analysis. Examples of tools include:

    • GPTZero
    • DetectGPT
    • Turnitin AI
    • Copyleaks
    • QuillBot AI
    • Grammarly
    • HuggingFace detectors

    These tools go beyond analyzing basics, they compare text against known AI‑generation patterns.

    Conclusion: Hard Detection Complements Soft Deduction

    Part I focused on intuition — tone, phrasing, emotional cadence, suspiciously neutral voice. Part II provides the science — statistical regularities, lexical smoothness, syntactic uniformity, semantic predictability.

    Together, they form a dual‑system framework:

  • Soft heuristic detection: “This feels like AI.”
  • Hard science-based detection: “Here’s measurable evidence.”
  • This combination is far more reliable than either method alone.

Note: Wikipedia is exceptionally vulnerable to AI contamination. They operate a project to identify and mitigate AI effects. Their article, Signs of AI Writing, is well worth a read.

AI robots competing for creativity

01 August 2026

A Roundup of Favorite Short-Story Writers



My post today is piggybacking on last week's column by Joseph S. Walker about several of his favorite authors, all of them writers that he hoped others might find and read.

I figured I'd try to add to that by listing some of my favorite genre short-story writers. I focused on genre for this list because SleuthSayers is a mystery blog usually targeting readers and writers of genre fiction--so I have NOT included some further-reaching favorite "literary" short-story authors like Hemingway, Faulkner, Chekhov, O'Connor, Munro, Carver, Maugham, Welty, Fitzgerald, etc., etc. 

The method I used to come up with these was simple: I looked around me here in my home office and counted the number of short-story collections I own from different genre writers. Most of them, it turns out, are by the twelve following authors. And these of course are also (as they should be), the authors whose stories I like to re-read:

Fredric Brown -- A name you might not be familiar with. His genre was mostly SF/fantasy, but he also wrote wonderful mystery/crime stories. Many of his shorts, among them "The Dangerous People" and "The Night the World Ended," were used in the anthology TV series Alfred Hitchcock Presents. He was especially well-known for what used to be called short-short stories (flash fiction), some of those only a page or two in length. My favorite of Brown's stories is still "Voodoo," which is only about 450 words. Others include "Arena," "Nightmare in Yellow," "The Geezenstacks," and "Earthmen Bearing Gifts." 

Jack Ritchie -- Another great shorts writer, Ritchie's stories can be found in a huge number of issues of old Ellery Queen's and Alfred Hitchcock's mystery magazines--and also the anthology volumes later created from those two magazines. He wrote only one novel, Tiger Island, which might be one of the reasons so few current readers of fiction know his name. I have a lot of Ritchie favorites, including the stories "Shatterproof," "The Absence of Emily," "#8," and "The Green Heart," later adapted into the feature film The New Leaf with Walter Matthau and Elaine May.

Roald Dahl -- Probably better known for his children's books like Charlie and the Chocolate Factory and James and the Giant Peach, Roald Dahl also wrote terrific short stories, several of which were, once again, adapted into episodes of Alfred Hitchcock Presents. His story "Man from the South" is still one of my all-time favorites because of its plot--and the same can be said of the delightful twist-ending story "Lamb to the Slaughter." Other favorites of mine: "Poison," "The Landlady," and "Champion of the World."

Ray Bradbury -- This writer, whose name IS quickly recognizable, was an author of mostly science fiction stories, and I would argue that one of his collections, a brick-thick volume appropriately called The Stories of Ray Bradbury, is one of the best short-story collections I've ever read. Aside from novels like Fahrenheit 451 and The Martian Chronicles, Bradbury wrote around 600 short stories. I think my favorites are "A Sound of Thunder," "The Veldt," "The Window," "The Fruit at the Bottom of the Bowl," and "There Will Come Soft Rains."

Elmore Leonard -- Like many others in this list, Leonard is known mostly for his novels, many of which were also movies: Get Shorty, Hombre, Out of Sight, Jackie Brown, etc. That's certainly the way I first heard about him and got to know his work. But I love his short stories just as much. Examples: "Three-Ten to Yuma," "The Tall T," "Karen Makes Out," "The Tonto Woman," and (actually a novella rather than a short story) Fire in the Hole, which served as the basis for the neo-Western TV series Justified. I actually met him once at a booksigning, for about five seconds.

Louis L'Amour -- An American writer who specialized in Westerns, both novels and shorts. His novels are more famous, especially Last of the Breed, The Walking Drum, Haunted Mesa, Shalako, and the seventeen novels in the Sackett series. Many of his novels were made into films, and some of his short stories. One of those stories--my favorite of his--was "The Gift of Cochise," which became the 1953 John Wayne movie Hondo and then became a novel of the same name. Other well-known L'Amour short stories are "Skull and the Arrow," "To Hang Me High," and "Squatters on the Lonetree." 

Lawrence Block -- Another household name, Block is the creator of series characters Matt Scudder, Bernie Rhodenbarr, Evan Tanner, the hitman Keller, and others, and has written many, many crime novels and short stories over the years. (Also, he's one of the two writers in this list who are still with us and who still, hopefully, are producing stories.) I own several of his collections, the best of which is probably Enough Rope (almost 900 pages of shorts). The stories I remember most are "A Blow for Freedom," "Sometimes They Bite," "By the Dawn's Early Light," and "Strangers on a Handball Court."

Edward D. Hoch -- One of the few writers who actually made a living from writing short stories. He wrote several novels as well, but is known almost entirely for his short fiction, and specialized in not only mystery/crime stories but traditional, puzzle-based mystery stories. Hoch used many pseudonyms and created many series characters, but one of the most amazing things about him, to me, is that he famously appeared in every single issue of EQMM between 1973 and his death in 2007. My favorite Ed Hoch stories are probably "Murder Offstage," "Captain Leopold's Birthday," and "The Oblong Room."

Shirley Jackson -- Her genres were mostly horror and mystery, and I suspect she's most often remembered for her novels The House on Haunted Hill and We have Always Lived in the Castle. My favorite of her many short stories, and one of the most memorable ever, is "The Lottery," which I taught in my writing classes as a perfect example of not only a surprise ending but the third-person "detached" POV. Other stories of hers that I like are "The Summer People," "The Possibility of Evil," and "The Witch."

Stanley Ellin -- Another relatively lesser-known name, Stanley Ellin was a fine mystery writer who produced more than a dozen novels but seemed more interested in short stories. He won, I believe, two Edgars for his short fiction, and many of his stories, like those of some of the writers listed above, were adapted and used in Alfred Hitchcock Presents. His most famous short story, which appeared first in EQMM, was probably "Specialty of the House," and though I enjoyed it, I think my favorites of his might be "The Blessington Method," "Kindly Dig Your Grave," and "You Can't Be a Little Girl All Your Life." 

Richard Matheson -- Matheson's genres were mostly SF/fantasy and horror, and he'll always be close to my heart because of all the stories he wrote for the Twilight Zone TV series--sixteen stores in all, I believe. Though he might be best known for his novella I am Legend, I most remember the movie Somewhere in Time, which was an adaptation of his novel Bid Time Return, and the short story "Nightmare at 20,000 Feet." Other excellent Matheson shorts were "Duel," "Button, Button," "Prey" and "Born of Man and Woman."

Stephen King -- I honestly believe this man is one of the world'd best storytellers. I have every one of his novels on my shelves, and all his short-story and novella collections. King's not much older than I am, and I think one reason I love his fiction is that many of his child protagonists (he uses a lot of those) experienced some of the same things I myself did: I watched the same TV shows, owned the same toys, read the same books. As for my favorites of his short stories, they're probably "Mrs. Todd's Shortcut," "Mute," and "The Raft," and my very favorite--one of the best stories I've ever read--is "The Last Rung on the Ladder."

A confession, here: I chose not to include some other favorite genre short-story authors because they're my friends and contemporaries--and if I did list and describe those, this post would become longer than anyone would read. But I must mention here that, seriously, you should search out and read the stories of writers like David Dean, Josh Pachter,  Doug Allyn, Barb Goffman, Dave Zeltserman, Michael Bracken, Art Taylor, Stacy Woodson, Adam Meyer, Melodie Campbell, O'Neil De Noux, Joseph S. Walker, Rob Lopresti, Steve Liskow, Elizabeth Zelvin, Ashley-Ruth Bernier, and many others, who are probably writing more stories at this very moment.

Now . . . Who are some of your favorite authors of short fiction--and especially genre shorts? Can you single out any stories of theirs, or anyone's, that are your all-time favorites?

As for me, I'll see you again in two weeks. I have plenty of reading--and re-reading--to do.

Have a great August.