Run: 2026-02-19-01KHSZ7B85YCBDGSPBDEXKB4BB

Run Details

Duration:
40.5s
Cost:
$0.022752

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The Heartstone Pendant pulsed against Aurora’s collarbone, its crimson glow bleeding through her shirt like a fresh wound. She didn’t need to look down to know it was reacting—she could *feel* it, a slow burn spreading across her skin, as if the gemstone had taken a breath and decided to exhale. Nyx materialised beside her, their shadowy form flickering at the edges like a candle guttering in an unseen draft. "The Veil’s thin here," they murmured, voice barely more than a sigh. "Thinner than it should be." Isolde didn’t turn, her silver hair catching the dim light as she stepped forward, bare feet silent on the cracked pavement. "Not thin," she corrected. "Torn." A pause. "And we’re standing in the tear." Aurora’s fingers twitched toward the pendant. The alley behind them—just another grimy London backstreet moments ago—had vanished. In its place stretched a vast, amber-lit expanse, the air thick with the scent of ripe fruit and something older, something like burnt sugar and rust. The sky above wasn’t sky at all, but a shifting, molten canopy, swirling with hues of gold and ochre, as if the heavens themselves were a pot left too long on the fire. "Dymas," Nyx said, and the word tasted like smoke. Aurora exhaled. "Right. Gluttony." Isolde laughed, a sound like wind chimes in a storm. "Oh, child. Gluttony is the least of what you’ll find here." The ground beneath them wasn’t ground at all, but a mosaic of polished bone and something that *looked* like marble but gave slightly underfoot, as if the earth itself were breathing. Aurora crouched, pressing her palm to it. Warm. Alive. She jerked her hand back. Nyx extended a shadowy limb, their fingers—if they could be called fingers—passing through the surface like mist. "It’s not earth," they said. "It’s *memory*. The land remembers every feast, every bite, every crumb left behind." Aurora stood, brushing her hands on her jeans. "So we’re walking on leftovers." Isolde’s lavender eyes gleamed. "In a manner of speaking." They moved forward, the landscape unfolding like a dream half-remembered. To their left, vineyards stretched endlessly, the vines heavy with fruit that defied logic—grapes the size of plums, their skins translucent, pulsing faintly with an inner light. To their right, orchards of trees with bark like polished bronze, their branches sagging under the weight of pomegranates that dripped syrup, their seeds glinting like rubies. The air hummed with the sound of distant laughter, the clink of glasses, the low, rhythmic chant of voices raised in song. Aurora’s stomach growled. The scent of roasting meat—rich, spiced, *perfect*—drifted toward them, carried on a breeze that didn’t exist. She swallowed hard. "We shouldn’t eat anything here." Nyx’s form rippled in what might have been a chuckle. "Too late for that, I’m afraid. The moment you stepped through, you *tasted* it. The air. The scent. It’s already in you." Isolde plucked a grape from a passing vine, rolling it between her fingers. "The body remembers hunger, even when the mind forgets." She popped it into her mouth. Aurora watched, horrified, as the seer’s throat worked, her skin flushing faintly, her pupils dilating. Isolde sighed, a sound of pure, unfiltered pleasure. "Oh. Oh, that’s *good*." Aurora’s pendant flared, heat searing her skin. She hissed, jerking it away from her chest. The gemstone was no longer crimson—it was *black*, veins of darkness spreading through it like ink in water. Nyx’s voice dropped to a whisper. "It knows you’re here." Ahead, the landscape shifted. The vineyards and orchards gave way to a sprawling plaza, its edges lost in the amber haze. At its center stood a fountain, but not of water—of wine. Dark, viscous, it bubbled up from the mouth of a stone serpent, its coils forming the basin. Figures moved around it, their forms indistinct, their voices a low, constant murmur. Some were human—or had been, once. Others were... not. Aurora’s breath hitched. One of the figures turned toward them, its face a shifting mask of hunger. It raised a hand, beckoning. Isolde’s fingers closed around Aurora’s wrist, her grip like iron. "Don’t look at them," she said, voice low. "They feed on attention as much as they feed on food." Nyx stepped between them and the plaza, their form expanding, swallowing the light. "We’re not here for them." Aurora forced her gaze away, her pulse hammering. "Then what *are* we here for?" The answer came not in words, but in a sound—a deep, resonant *chime*, like a bell tolling underwater. It vibrated through the ground, through Aurora’s bones, setting her teeth on edge. The plaza stilled. The figures turned as one, their attention snapping toward a distant rise, where a structure loomed, half-hidden in the haze. A palace. Or a temple. Or something in between. Its walls were made of something that *looked* like ivory but gleamed like wet teeth. Towers spiraled upward, their peaks lost in the amber sky, and between them stretched banners of silk, embroidered with sigils Aurora didn’t recognise. The air around it shimmered, as if reality itself were bending. Isolde’s breath caught. "The Court of Feasts." Nyx’s form flickered, their edges sharpening. "Belphegor’s seat." Aurora’s pendant burned. She gritted her teeth. "And that’s where we’re going?" Isolde’s smile was razor-thin. "Oh, child. We’ve been going there since the moment we arrived." The path to the palace was lined with tables. Not the rough-hewn benches of a tavern, but long, gleaming slabs of polished wood, their surfaces groaning under the weight of platters and bowls and tureens, all of it steaming, all of it *alive*. Meat that still twitched. Fruit that bled when cut. Wine that whispered when poured. Aurora kept her eyes forward, her jaw clenched. The scent of it all—rich, cloying, *wrong*—coated her tongue, her throat, her lungs. She could taste it, even when she didn’t want to. Even when she *knew* she shouldn’t. A figure stepped into their path. He was tall, his skin the colour of burnished copper, his eyes like molten gold. A crown of antlers, still dripping with something dark, rested on his brow. His smile was all teeth. "Welcome," he said, and his voice was the sound of a knife sliding into flesh. "To Dymas." Aurora’s hand went to the Fae blade at her hip. The metal was cold, reassuring. "We’re not staying." The man—*demon*, her mind supplied—laughed, the sound rolling over them like thunder. "Everything stays in Dymas, little mortal. Even the things that think they’re leaving." His gaze flicked to the pendant at her throat. "Especially those." Nyx’s form darkened, their edges sharpening into something almost solid. "Belphegor." The demon’s smile widened. "Ah. The Shade remembers. How... nostalgic." His gaze lingered on Nyx, something like hunger flickering in his eyes. "It’s been so long since we had one of your kind at our table." Isolde stepped forward, her silver hair catching the light like spun metal. "We’re not here for your hospitality, Prince." Belphegor’s laugh was a low, rumbling thing. "Aren’t you?" He gestured to the tables, the endless feast. "Everything here is hospitality. The food. The drink. The *company*." His gaze settled on Aurora, heavy, assessing. "And some guests are more... *welcome* than others." Aurora’s pendant flared, heat licking at her skin. She didn’t flinch. "We’re looking for someone." "In Dymas?" Belphegor spread his hands. "Everyone is looking for someone. A lost lover. A stolen soul. A second helping of something they can’t quite name." His smile turned razor-sharp. "But you, little thief, are looking for something *specific*." Aurora’s grip tightened on the Fae blade. "Where is he?" Belphegor’s laughter echoed, bouncing off the tables, the walls, the very air. "Oh, he’s *here*. He’s been here for a very, very long time." He leaned in, his breath hot against her face, smelling of cinnamon and rot. "But are you sure you want to find him?" The pendant burned. Aurora’s vision swam. And then the ground beneath them *shifted*. The tables vanished. The palace loomed closer, its doors yawning open like a mouth. The air inside was thick, heavy, the scent of old blood and older wine. Figures moved in the shadows—servants, or prisoners, or something in between. Their faces were blank, their movements slow, as if they were walking through honey. Belphegor’s voice followed them, a whisper on the wind. "Enjoy your stay, little thief. I do hope you find what you’re looking for." The doors slammed shut behind them. Darkness swallowed the light.
total_cost0.022752

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences45
tagDensity0.311
leniency0.622
rawRatio0
effectiveRatio0
85.97% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1426
totalAiIsmAdverbs4
found
0
adverb"slightly"
count1
1
adverb"very"
count3
highlights
0"slightly"
1"very"
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)
15.85% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1426
totalAiIsms24
found
0
word"pulsed"
count1
1
word"mosaic"
count1
2
word"marble"
count1
3
word"weight"
count2
4
word"glinting"
count1
5
word"rhythmic"
count1
6
word"stomach"
count1
7
word"perfect"
count1
8
word"searing"
count1
9
word"whisper"
count2
10
word"pulse"
count1
11
word"vibrated"
count1
12
word"structure"
count1
13
word"loomed"
count2
14
word"silk"
count1
15
word"shimmered"
count1
16
word"flickered"
count1
17
word"gleaming"
count1
18
word"jaw clenched"
count1
19
word"flicked"
count1
20
word"echoed"
count1
highlights
0"pulsed"
1"mosaic"
2"marble"
3"weight"
4"glinting"
5"rhythmic"
6"stomach"
7"perfect"
8"searing"
9"whisper"
10"pulse"
11"vibrated"
12"structure"
13"loomed"
14"silk"
15"shimmered"
16"flickered"
17"gleaming"
18"jaw clenched"
19"flicked"
20"echoed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"jaw/fists clenched"
count1
highlights
0"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences112
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences112
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences142
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans19
markdownWords19
totalWords1406
ratio0.014
matches
0"feel"
1"looked"
2"memory"
3"perfect"
4"tasted"
5"good"
6"black"
7"are"
8"chime"
9"looked"
10"alive"
11"wrong"
12"knew"
13"demon"
14"company"
15"welcome"
16"specific"
17"here"
18"shifted"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
60.23% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1114
uniqueNames8
maxNameDensity1.8
worstName"Aurora"
maxWindowNameDensity3
worstWindowName"Aurora"
discoveredNames
Heartstone1
Pendant1
Aurora20
Isolde9
London1
Nyx9
Fae2
Belphegor4
persons
0"Pendant"
1"Aurora"
2"Isolde"
3"Nyx"
4"Belphegor"
places
0"London"
1"Fae"
globalScore0.602
windowScore0.667
50.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount3
matches
0"something like burnt sugar and rust"
1"tasted like smoke"
2"something like hunger flickering in his eyes"
57.75% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.422
wordCount1406
matches
0"not in words, but in a sound"
1"Not the rough-hewn benches of a tavern, but long, gleaming slabs of polished wood, their surfaces groani"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences142
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean28.12
std20.09
cv0.714
sampleLengths
051
136
234
376
49
54
621
745
835
913
109
1186
1227
1332
1455
1533
1610
1771
1822
1929
2018
2114
2254
239
2449
257
268
2712
2815
2957
3037
316
3233
3317
3418
3536
3611
3736
3819
3942
4015
4139
4210
4347
446
457
4653
4723
486
494
99.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences112
matches
0"were made"
1"was lined"
69.92% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs205
matches
0"was reacting"
1"were breathing"
2"were bending"
3"were walking"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount17
semicolonCount0
flaggedSentences12
totalSentences142
ratio0.085
matches
0"She didn’t need to look down to know it was reacting—she could *feel* it, a slow burn spreading across her skin, as if the gemstone had taken a breath and decided to exhale."
1"The alley behind them—just another grimy London backstreet moments ago—had vanished."
2"Nyx extended a shadowy limb, their fingers—if they could be called fingers—passing through the surface like mist."
3"To their left, vineyards stretched endlessly, the vines heavy with fruit that defied logic—grapes the size of plums, their skins translucent, pulsing faintly with an inner light."
4"The scent of roasting meat—rich, spiced, *perfect*—drifted toward them, carried on a breeze that didn’t exist."
5"The gemstone was no longer crimson—it was *black*, veins of darkness spreading through it like ink in water."
6"At its center stood a fountain, but not of water—of wine."
7"Some were human—or had been, once."
8"The answer came not in words, but in a sound—a deep, resonant *chime*, like a bell tolling underwater."
9"The scent of it all—rich, cloying, *wrong*—coated her tongue, her throat, her lungs."
10"The man—*demon*, her mind supplied—laughed, the sound rolling over them like thunder."
11"Figures moved in the shadows—servants, or prisoners, or something in between."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1134
adjectiveStacks1
stackExamples
0"vast, amber-lit expanse,"
adverbCount33
adverbRatio0.0291005291005291
lyAdverbCount5
lyAdverbRatio0.004409171075837742
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences142
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences142
mean9.9
std7.29
cv0.736
sampleLengths
018
133
219
312
45
521
64
73
86
96
1011
1126
1233
139
142
152
1610
1711
1831
197
201
211
225
2317
245
2513
268
275
284
295
3010
3127
3227
3322
343
3516
363
375
3810
3922
4013
4115
4215
438
444
457
468
4718
486
494
56.81% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.36619718309859156
totalSentences142
uniqueOpeners52
32.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences103
matches
0"Dark, viscous, it bubbled up"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences103
matches
0"She didn’t need to look"
1"they murmured, voice barely more"
2"She jerked her hand back."
3"They moved forward, the landscape"
4"She swallowed hard."
5"She popped it into her"
6"She hissed, jerking it away"
7"It raised a hand, beckoning."
8"she said, voice low"
9"It vibrated through the ground,"
10"Its walls were made of"
11"She gritted her teeth."
12"She could taste it, even"
13"He was tall, his skin"
14"His smile was all teeth."
15"he said, and his voice"
16"His gaze flicked to the"
17"His gaze lingered on Nyx,"
18"He gestured to the tables,"
19"His gaze settled on Aurora,"
ratio0.233
18.25% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences103
matches
0"The Heartstone Pendant pulsed against"
1"She didn’t need to look"
2"Nyx materialised beside her, their"
3"they murmured, voice barely more"
4"Isolde didn’t turn, her silver"
5"Aurora’s fingers twitched toward the"
6"The alley behind them—just another"
7"The sky above wasn’t sky"
8"Nyx said, and the word"
9"Isolde laughed, a sound like"
10"The ground beneath them wasn’t"
11"Aurora crouched, pressing her palm"
12"She jerked her hand back."
13"Nyx extended a shadowy limb,"
14"Aurora stood, brushing her hands"
15"Isolde’s lavender eyes gleamed."
16"They moved forward, the landscape"
17"The air hummed with the"
18"Aurora’s stomach growled."
19"The scent of roasting meat—rich,"
ratio0.883
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences103
matches
0"To their left, vineyards stretched"
1"To their right, orchards of"
2"Even when she *knew* she"
ratio0.029
18.63% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount8
matches
0"She didn’t need to look down to know it was reacting—she could *feel* it, a slow burn spreading across her skin, as if the gemstone had taken a breath and decid…"
1"The sky above wasn’t sky at all, but a shifting, molten canopy, swirling with hues of gold and ochre, as if the heavens themselves were a pot left too long on t…"
2"The ground beneath them wasn’t ground at all, but a mosaic of polished bone and something that *looked* like marble but gave slightly underfoot, as if the earth…"
3"To their left, vineyards stretched endlessly, the vines heavy with fruit that defied logic—grapes the size of plums, their skins translucent, pulsing faintly wi…"
4"To their right, orchards of trees with bark like polished bronze, their branches sagging under the weight of pomegranates that dripped syrup, their seeds glinti…"
5"Aurora watched, horrified, as the seer’s throat worked, her skin flushing faintly, her pupils dilating."
6"Nyx stepped between them and the plaza, their form expanding, swallowing the light."
7"Their faces were blank, their movements slow, as if they were walking through honey."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount4
matches
0"they murmured, voice barely more than a sigh"
1"Nyx said, and the word tasted like smoke"
2"she said, voice low"
3"he said, and his voice was the sound of a knife sliding into flesh"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount2
fancyTags
0"they murmured (murmur)"
1"she corrected (correct)"
dialogueSentences45
tagDensity0.133
leniency0.267
rawRatio0.333
effectiveRatio0.089
75.2927%