Run: 2026-02-19-01KHSZ9WRQ547VD69TY5WN3BHP

Run Details

Duration:
38.4s
Cost:
$0.022086

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 warmth seeping through her shirt like a second heartbeat. She didn’t need to look down to know the crimson gem had brightened—its glow bled through the fabric, casting jagged shadows across the cobblestones beneath her boots. Beside her, Nyx’s silhouette flickered, their violet eyes narrowing as they scanned the alley’s dead end. "Right where the note said it’d be," Rory muttered, pressing her palm against the damp brick wall. The mortar crumbled under her fingers, brittle as old bone. "You sure this is the way in?" Nyx didn’t answer. Instead, they reached out, their shadowed fingers passing through the wall like smoke before solidifying on the other side. A breath later, the bricks shimmered, dissolving into a swirling vortex of amber light. The scent hit her first—rich, cloying, like overripe fruit left to ferment in the sun. Her stomach twisted. "Hel’s teeth," she breathed. Isolde stepped forward, her silver hair catching the unnatural glow. "Dymas welcomes those who know its hunger." Her voice was a melody, just shy of a whisper. "But beware, child. The Veil here is thin, and Belphegor’s court is always watching." Rory didn’t need the warning. The pendant’s heat had become a burn, searing her skin. She clenched her jaw and followed Nyx through the portal. The world on the other side was a feast for the senses—and a knife to the gut. They stood on the edge of a sprawling vineyard, rows of gnarled vines stretching into the distance, heavy with fruit that shouldn’t exist. Pomegranates the size of melons, their skins split to reveal seeds like rubies. Bunches of grapes so dark they drank the light. The air hummed with the drone of insects, their wings iridescent, their bodies too large, too *wrong*. Above them, the sky wasn’t blue but a warm, sickly amber, like honey left too long in the sun. Rory’s boots sank into the soil, rich and black, clinging to her soles. She crouched, brushing her fingers through the dirt. It was warm. Alive. When she pulled her hand back, the earth clung to her skin, writhing like something beneath the surface had tasted her. "Don’t let it touch your lips," Nyx warned, their voice a rasp. "Dymas feeds on more than just food." Isolde inhaled deeply, her lavender eyes half-lidded. "Can you not *smell* it? The excess. The *want*." She plucked a grape from a nearby vine and held it up, watching the juice drip like blood between her fingers. "This place doesn’t just grow food. It grows *desire*." Rory wiped her hand on her jeans, leaving streaks of dark soil. "And we’re just supposed to walk through it?" "Unless you’d rather fly," Nyx said dryly. They gestured ahead, where the vineyard gave way to a path of crushed white stone, winding toward a distant hill. At its peak, a structure loomed—a palace of gold and obsidian, its towers spiraling like the horns of some great beast. Smoke curled from its chimneys, carrying the scent of roasting meat, spices, and something sweeter. Sugar. Caramel. *Rot.* Rory’s mouth watered. Isolde laughed, a sound like wind chimes. "Oh, little mortal. You feel it already, don’t you? The pull." Rory swallowed hard. "I feel like I haven’t eaten in days." "That’s the point." Nyx’s form flickered, their edges blurring as if the very air of Dymas was trying to digest them. "This place doesn’t just feed bodies. It feeds *hunger*." They set off down the path, the white stone warm beneath Rory’s boots. The vineyard seemed to watch them go, the vines shifting subtly, leaves rustling without wind. Every so often, a fruit would drop from a branch, splitting open with a wet *thunk*. The scent of it—overripe, cloying—made Rory’s head spin. Then came the sounds. Laughter, deep and rich, carried on the breeze. The clink of glasses. The crackle of fire. Somewhere, a woman moaned in pleasure, the sound twisting into something darker, hungrier. Rory’s fingers twitched toward the Fae-forged blade at her hip. The metal was cold, a stark contrast to the oppressive heat of Dymas. "Feels like we’re being herded," she muttered. Isolde’s bare feet made no sound on the stone. "Of course we are. Belphegor’s court is a gourmet. He doesn’t just want guests—he wants *courses*." Nyx’s shadow stretched long and thin ahead of them, their form flickering in and out of solidity. "Stay sharp. The first course is always the most dangerous." Rory didn’t ask what that meant. She didn’t have to. The path curved, and the vineyard gave way to an orchard. Here, the trees were twisted things, their bark black and glossy, their branches heavy with fruit that gleamed like polished gemstones. Apples of ruby red, peaches with skins like molten gold, plums so dark they seemed to swallow the light. And between the trees, figures moved. Not human. Not quite. Their bodies were too long, their limbs too many, their skin shifting between shades of gold and crimson like living flame. They plucked fruit from the branches, their fingers leaving trails of smoke in their wake. One turned as Rory passed, its face a smooth expanse of polished obsidian, its mouth a lipless slit. It smiled. Rory’s breath hitched. The creature plucked an apple from the tree and held it out to her. The fruit pulsed in its palm, its skin stretching, thinning, until she could see the dark seeds within, writhing like insects. "Take," it whispered, its voice like honey and rust. "Eat. *Become.*" Rory’s fingers twitched. The pendant at her throat burned hotter. Isolde’s hand shot out, gripping Rory’s wrist. "Don’t." The creature’s smile widened. "Afraid, little seer? Or just *hungry*?" Nyx stepped between them, their form solidifying into something almost human. "She’s not for you." The creature’s laughter was a chime of breaking glass. "Everything is for us, shade. Even *you*." It turned away, its body dissolving into smoke as it rejoined the others. The orchard swallowed them whole. Rory exhaled shakily. "What the hell was that?" "Helbound," Nyx said. "Souls who traded their humanity for a taste of Dymas’s bounty. They’re not alive. Not dead. Just... *hungry*." Isolde’s grip on Rory’s wrist tightened. "And they’re not the only ones watching." Rory followed her gaze. Ahead, the path split. To the left, a grand staircase of white marble, its steps worn smooth by centuries of use, led up to the palace. To the right, a narrow bridge of black iron spanned a chasm, its depths lost in shadow. And between the two, standing as still as the trees, was a man. No. Not a man. His skin was the color of aged parchment, stretched too tight over a frame that was too tall, too thin. His fingers were long and delicate, ending in nails like polished bone. His eyes— His eyes were pits of endless amber, swirling with the same light as the sky. "Prince Belphegor," Isolde breathed. The prince inclined his head, his lips parting in a smile that didn’t reach his eyes. "Seer. Shade. And... *mortal*." His voice was a purr, rich and smooth, like aged wine. "What brings such interesting company to my court?" Rory’s pulse hammered in her throat. The pendant at her neck was a brand now, searing her skin. She forced herself to meet his gaze. "We’re looking for someone." Belphegor’s smile widened. "Aren’t we all?" A sound cut through the tension—a wet, tearing noise, like flesh being pulled from bone. Rory turned. The orchard was changing. The trees were *bleeding*. Sap, thick and red, oozed from the bark, dripping onto the ground where it sizzled like acid. The fruit split open, revealing not seeds but *teeth*, rows of them, grinding together in a hungry rhythm. And the helbound— The helbound were *feeding*. Their bodies stretched, their limbs elongating as they tore into the fruit, their mouths unhinging like snakes. One of them looked up, its face a ruin of blood and pulp, and *laughed*. Belphegor sighed, almost fondly. "Ah. The first course begins." Rory’s hand flew to her dagger. The blade was ice in her grip. Nyx’s form flickered, their edges blurring. "Run." And then the orchard *screamed*.
total_cost0.022086

Evaluation details

Result Evaluator Details Meta Data
85.71% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount2
adverbTags
0"Nyx said dryly [dryly]"
1"It turned away [away]"
dialogueSentences35
tagDensity0.314
leniency0.629
rawRatio0.182
effectiveRatio0.114
96.35% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1371
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"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)
23.41% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1371
totalAiIsms21
found
0
word"pulsed"
count2
1
word"warmth"
count1
2
word"flickered"
count3
3
word"scanned"
count1
4
word"shimmered"
count1
5
word"stomach"
count1
6
word"whisper"
count1
7
word"searing"
count2
8
word"desire"
count1
9
word"structure"
count1
10
word"loomed"
count1
11
word"stark"
count1
12
word"oppressive"
count1
13
word"marble"
count1
14
word"depths"
count1
15
word"pulse"
count1
16
word"tension"
count1
highlights
0"pulsed"
1"warmth"
2"flickered"
3"scanned"
4"shimmered"
5"stomach"
6"whisper"
7"searing"
8"desire"
9"structure"
10"loomed"
11"stark"
12"oppressive"
13"marble"
14"depths"
15"pulse"
16"tension"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched her jaw"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences116
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences116
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans18
markdownWords18
totalWords1361
ratio0.013
matches
0"wrong"
1"smell"
2"want"
3"desire"
4"Rot."
5"hunger"
6"thunk"
7"courses"
8"Become."
9"hungry"
10"you"
11"hungry"
12"mortal"
13"bleeding"
14"teeth"
15"feeding"
16"laughed"
17"screamed"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1140
uniqueNames8
maxNameDensity1.75
worstName"Rory"
maxWindowNameDensity3.5
worstWindowName"Rory"
discoveredNames
Heartstone1
Pendant1
Aurora1
Nyx10
Isolde7
Rory20
Dymas2
Fae-forged1
persons
0"Aurora"
1"Nyx"
2"Isolde"
3"Rory"
places
0"Fae-forged"
globalScore0.623
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.735
wordCount1361
matches
0"not seeds but *teeth*, rows of them, grinding together in a hungry rhythm"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences138
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean23.88
std19.84
cv0.831
sampleLengths
060
134
254
34
441
525
617
781
846
919
1046
1120
1266
133
1418
1511
1630
1752
184
1952
207
2125
2227
2310
2457
252
262
2756
283
2935
3011
3110
328
3310
3415
3534
368
3721
3813
394
4056
414
4234
4315
444
4539
4629
476
4817
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences116
matches
0"being pulled"
96.91% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs194
matches
0"was trying"
1"were *bleeding"
2"were *feeding"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount9
semicolonCount0
flaggedSentences8
totalSentences138
ratio0.058
matches
0"She didn’t need to look down to know the crimson gem had brightened—its glow bled through the fabric, casting jagged shadows across the cobblestones beneath her boots."
1"The scent hit her first—rich, cloying, like overripe fruit left to ferment in the sun."
2"The world on the other side was a feast for the senses—and a knife to the gut."
3"At its peak, a structure loomed—a palace of gold and obsidian, its towers spiraling like the horns of some great beast."
4"The scent of it—overripe, cloying—made Rory’s head spin."
5"His eyes—"
6"A sound cut through the tension—a wet, tearing noise, like flesh being pulled from bone."
7"And the helbound—"
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1149
adjectiveStacks0
stackExamples(empty)
adverbCount39
adverbRatio0.033942558746736295
lyAdverbCount6
lyAdverbRatio0.005221932114882507
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean9.86
std6.52
cv0.661
sampleLengths
017
127
216
317
410
57
63
719
814
915
103
114
1210
1317
1414
155
1610
1710
1817
1923
2013
219
2217
2319
2413
258
263
271
2821
2912
307
317
3230
339
3412
358
367
3720
3821
3915
401
411
421
433
447
4511
463
478
4821
499
72.71% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.47101449275362317
totalSentences138
uniqueOpeners65
98.04% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences102
matches
0"Instead, they reached out, their"
1"Then came the sounds."
2"Somewhere, a woman moaned in"
ratio0.029
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount21
totalSentences102
matches
0"She didn’t need to look"
1"Her stomach twisted."
2"Her voice was a melody,"
3"She clenched her jaw and"
4"They stood on the edge"
5"She crouched, brushing her fingers"
6"It was warm."
7"She plucked a grape from"
8"They gestured ahead, where the"
9"They set off down the"
10"She didn’t have to."
11"Their bodies were too long,"
12"They plucked fruit from the"
13"it whispered, its voice like"
14"It turned away, its body"
15"His skin was the color"
16"His fingers were long and"
17"His eyes were pits of"
18"His voice was a purr,"
19"She forced herself to meet"
ratio0.206
48.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences102
matches
0"The Heartstone Pendant pulsed against"
1"She didn’t need to look"
2"Rory muttered, pressing her palm"
3"The mortar crumbled under her"
4"Nyx didn’t answer."
5"A breath later, the bricks"
6"The scent hit her first—rich,"
7"Her stomach twisted."
8"Isolde stepped forward, her silver"
9"Her voice was a melody,"
10"Rory didn’t need the warning."
11"The pendant’s heat had become"
12"She clenched her jaw and"
13"The world on the other"
14"They stood on the edge"
15"Bunches of grapes so dark"
16"The air hummed with the"
17"Rory’s boots sank into the"
18"She crouched, brushing her fingers"
19"It was warm."
ratio0.824
98.04% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences102
matches
0"To the left, a grand"
1"To the right, a narrow"
ratio0.02
58.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount6
matches
0"They stood on the edge of a sprawling vineyard, rows of gnarled vines stretching into the distance, heavy with fruit that shouldn’t exist."
1"Smoke curled from its chimneys, carrying the scent of roasting meat, spices, and something sweeter."
2"Here, the trees were twisted things, their bark black and glossy, their branches heavy with fruit that gleamed like polished gemstones."
3"His skin was the color of aged parchment, stretched too tight over a frame that was too tall, too thin."
4"The prince inclined his head, his lips parting in a smile that didn’t reach his eyes."
5"Their bodies stretched, their limbs elongating as they tore into the fruit, their mouths unhinging like snakes."
34.09% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount2
matches
0"Nyx warned, their voice a rasp"
1"It turned away, its body dissolving into smoke as it rejoined the others"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount6
fancyTags
0"Rory muttered (mutter)"
1"she breathed (breathe)"
2"Nyx warned (warn)"
3"she muttered (mutter)"
4"it whispered (whisper)"
5"Isolde breathed (breathe)"
dialogueSentences35
tagDensity0.229
leniency0.457
rawRatio0.75
effectiveRatio0.343
82.0774%