Run: 2026-02-19-01KHTX6SXT7M44713EQ2SHDWAA

Run Details

Duration:
21.9s
Cost:
$0.006222
Provider:
Novita

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <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> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The ancient oak standing stones rose from the earth like broken teeth, their surfaces slick with a dampness that had nothing to do with the night air. Aurora Carter’s boots sank slightly into the soft, unnaturally vibrant grass of the clearing. The Heartstone pendant against her skin pulsed, not with its usual faint warmth, but with a slow, deep thrum of cold. Wrong. Everything was wrong. She had come to the Fae Grove on a whisper, a fragment of a lead from a man in a pub whose eyes had been too wide, whose hands had trembled over his pint. He’d spoken of a door, a flicker of impossible darkness seen between the oaks at dusk. A Hel portal. It was the kind of nonsense Rory usually dismissed, but the pendant had grown cold for the first time since Dymas had given it to her. Cold, not warm. That was the detail that had landed her here, in the heart of Richmond Park after hours, trespassing in a place that felt older and more dangerous than London itself. The wildflowers, a impossible tapestry of blues and purples and crimsons, should have been beautiful. They weren't. Their colours were too vivid, too saturated in the slivers of moonlight that pierced the canopy. They looked painted. Like a child’s drawing of a meadow, missing all the subtlety of life. A twig snapped behind her. Rory froze. Her hand went instinctively to the silver chain around her neck, her thumb stroking the cool, smooth surface of the crimson gemstone. She didn't turn. Turning was what prey did. She listened, her breath held tight in her chest. Nothing. Just the sigh of wind through branches that sounded too much like a long, drawn-out breath. She scanned the perimeter, her gaze tracing the line of standing stones. They formed a perfect circle. A boundary. A cage. She started walking again, her steps deliberate, her eyes scanning the ground. The man had said the flicker was near the centre of the grove. She moved towards the largest of the flowers, a cluster of bell-shaped blossoms the colour of fresh blood. The air grew thick, heavy with the cloying scent of pollen and something else. Something metallic and familiar. Copper. The sharp, tangy smell of old blood. The pendant pulsed again, a beat of icy dread against her sternum. She stopped. The silence that fell was absolute. Not just the absence of sound, but a presence of it. A thick, muffling blanket that smothered the rustle of leaves, the chirp of insects, the distant hum of the city. The only thing she could hear was the frantic thrum of her own heart. A shape detached itself from the shadows of a great oak on the far side of the clearing. It was tall and impossibly thin, its limbs long and jointed like a spider’s legs. It moved with a stuttering, unnatural gait, a lurching motion that defied biology. For a moment, she thought it was a trick of the light, a strange configuration of branches cast in the gloom. Then it took another step, and the moonlight caught the pale, waxy surface of its skin. It had no face. Just a smooth, featureless oval of skin that turned towards her. Rory’s blood ran cold. This was not Fae. This was something else. Something from the other side of the door she was looking for. Her mind, her cool-headed, quick-thinking mind that had gotten her out of more scrapes than she could count, went blank with a primal, animal terror. Run. The single word screamed through her consciousness. But her legs wouldn't obey. They were rooted to the spot, held fast by the sheer, impossible wrongness of the thing. It raised one long, spindly arm, its fingers elongating, stretching like warm wax. It pointed at her. Or rather, it pointed at the pendant. The gemstone flared with a sudden, intense cold, a painful shock that jolted her from her stupor. She stumbled backwards, her boots catching on a root. She fell hard, the impact knocking the wind from her lungs. The wildflowers beneath her hands felt brittle, like dried paper, not soft and living. The creature began to move towards her, its stuttering, lurching steps eating up the distance. It was silent. Utterly silent. No footfalls on the grass, no rustle of clothing. It just flowed, a nightmare given form. Scrambling away, Rory's hand brushed against something hard and smooth in the dirt. A rock. No, not a rock. A shard of bone, pale and yellowed in the moonlight. Beside it, another. And another. A small pile of them, nestled amongst the too-vibrant flowers. Human bones. The creature was halfway across the clearing now. The featureless oval of its head tilted, a gesture of unnerving curiosity. It knew she was trapped. It was playing with her. Her fingers closed around the bone shard. It was sharp. Useless, but it was something. A weapon, however pathetic. She pushed herself to her feet, her back pressed against the rough bark of an oak. The standing stones loomed, silent sentinels to her doom. A sound broke the suffocating silence. A soft, wet, tearing noise, like cloth being ripped slowly in half. It came from the creature. A thin, dark line appeared on its smooth, featureless face. It widened, stretching vertically, revealing not a mouth, but a glistening, spiralling void, a vortex of absolute blackness that seemed to drink the light around it. The smell of copper intensified, a wave of nausea that made her gag. The portal. It wasn't in the centre of the grove. It was the creature. The void in its face pulsed, and with the pulse came a sound. A low, guttural chittering that echoed from a thousand throats at once. It was a sound of hunger, of ancient, patient starvation. Rory did the only thing she could think of. She raised the bone shard and, with a scream that tore from her throat, she hurled it at the thing. It passed straight through the creature's chest without touching it, as if it were made of smoke and shadow. The chittering grew louder, more excited. The long, spindly arm raised again, but this time it wasn't pointing. The fingers, now longer and thinner than any human's, uncurled like the legs of a dead spider. They reached for her. The cold from the pendant became an agony, a shard of ice lodged in her chest. The crimson stone flared, not with its inner glow, but with a light so black it was darker than the shadows around it. The creature froze, its reaching hand inches from her face. The spiralling void in its face wavered, the chittering cutting off into a strangled hiss. A new sound filled the grove. The frantic, rhythmic drumming of footsteps. Many of them. They were coming from the trees beyond the standing stones, from the world she knew. The creature’s featureless head swivelled towards the sound, then back to her. The void in its face began to shrink, closing like a wound. With a sound like tearing silk, it dissolved, its long limbs folding in on themselves until it was nothing more than a wisp of shadow that melted into the ground. The coppery smell vanished. The suffocating silence broke, replaced by the frantic pounding of her own heart and the approaching footsteps. The pendant’s cold retreated, leaving a dull, aching throb in its wake. Rory sank to her knees, her body shaking uncontrollably. She was alive. She didn't know how, or why, but she was alive. The footsteps stopped just outside the circle of stones. A figure emerged from the darkness, silhouetted against the faint glow of the moon. It wasn't a policeman or a park ranger. It was a man, tall and slender, dressed in a impeccably tailored suit that seemed utterly out of place. He stepped into the clearing, his polished shoes making no sound on the unnaturally soft grass. His eyes found hers, and in their depths, she saw no concern, no alarm. Only a cold, calculating interest. He smiled, a slow, predatory curve of his lips. "Aurora Carter," he said, his voice a smooth, cultured baritone that sent a fresh wave of dread through her. "We have so much to discuss."
created_at"2026-02-19T12:15:14.882Z" 2/19/2026, 12:15:14 PM
model"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency874
moderation_latency(null)
generation_time20852
tokens_prompt4560
tokens_completion2029
native_tokens_prompt4132
native_tokens_completion1796
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached5
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.0062216
router(null)
provider_responses
0
endpoint_id"df7ce709-f02d-469f-9178-d8c4c6b5ad42"
is_byokfalse
latency767
model_permaslug"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
provider_name"BaseTen"
status502
1
endpoint_id"562fe77f-c92f-4556-b43b-ea7da6891b6a"
id"2c78e39f1ad3b48100d3f96c9687e2e8"
is_byokfalse
latency874
model_permaslug"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
provider_name"Novita"
status200
api_type"completions"
id"gen-1771503314-CdOmlJ0pcdqQXGINXEyy"
upstream_id"2c78e39f1ad3b48100d3f96c9687e2e8"
total_cost0.0062216
cache_discount0.0000022
upstream_inference_cost0
provider_name"Novita"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences2
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
85.58% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1387
totalAiIsmAdverbs4
found
0
adverb"slightly"
count1
1
adverb"utterly"
count2
2
adverb"slowly"
count1
highlights
0"slightly"
1"utterly"
2"slowly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1387
totalAiIsms35
found
0
word"pulsed"
count3
1
word"warmth"
count1
2
word"whisper"
count1
3
word"trembled"
count1
4
word"flicker"
count2
5
word"tapestry"
count1
6
word"scanned"
count1
7
word"tracing"
count1
8
word"perfect"
count1
9
word"scanning"
count1
10
word"familiar"
count1
11
word"silence"
count3
12
word"lurching"
count2
13
word"gloom"
count1
14
word"loomed"
count1
15
word"sentinels"
count1
16
word"glistening"
count1
17
word"pulse"
count1
18
word"echoed"
count1
19
word"wavered"
count1
20
word"rhythmic"
count1
21
word"footsteps"
count3
22
word"silk"
count1
23
word"pounding"
count1
24
word"throb"
count1
25
word"depths"
count1
26
word"calculating"
count1
highlights
0"pulsed"
1"warmth"
2"whisper"
3"trembled"
4"flicker"
5"tapestry"
6"scanned"
7"tracing"
8"perfect"
9"scanning"
10"familiar"
11"silence"
12"lurching"
13"gloom"
14"loomed"
15"sentinels"
16"glistening"
17"pulse"
18"echoed"
19"wavered"
20"rhythmic"
21"footsteps"
22"silk"
23"pounding"
24"throb"
25"depths"
26"calculating"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"blood ran cold"
count1
1
label"wave of emotion"
count1
highlights
0"blood ran cold"
1"a wave of nausea"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences132
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences132
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences133
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1382
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions16
wordCount1374
uniqueNames10
maxNameDensity0.44
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Rory"
discoveredNames
Carter1
Heartstone1
Fae2
Grove1
Hel1
Rory6
Dymas1
Richmond1
Park1
London1
persons
0"Carter"
1"Rory"
2"Dymas"
places
0"Fae"
1"Grove"
2"Richmond"
3"Park"
4"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences88
glossingSentenceCount1
matches
0"blackness that seemed to drink the light around it"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords2.894
wordCount1382
matches
0"not with its usual faint warmth, but with a slow, deep thrum of cold"
1"Not just the absence of sound, but a presence of it"
2"not a mouth, but a glistening, spiralling void, a vortex of absolute blacknes"
3"not with its inner glow, but with a light so black it was darker than the shadows around"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences133
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs33
mean41.88
std21.56
cv0.515
sampleLengths
066
1112
249
35
441
538
669
712
853
918
1065
1115
1257
1338
147
1551
1636
1746
1830
1944
2059
2127
2235
2329
2419
2539
2664
2754
2851
2934
3066
3128
3225
97.29% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences132
matches
0"were rooted"
1"being ripped"
2"were made"
66.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs199
matches
0"was looking"
1"was playing"
2"wasn't pointing"
3"were coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences133
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1379
adjectiveStacks0
stackExamples(empty)
adverbCount44
adverbRatio0.03190717911530094
lyAdverbCount17
lyAdverbRatio0.012327773749093546
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences133
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences133
mean10.39
std7
cv0.673
sampleLengths
027
114
221
31
43
534
616
73
826
93
1030
1115
122
1316
143
1513
165
172
1822
193
205
219
221
2316
2412
255
262
272
2812
2913
3018
3114
324
331
347
3512
362
376
3811
3920
4014
4118
4215
4313
4421
4516
464
4711
484
494
33.46% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.2932330827067669
totalSentences133
uniqueOpeners39
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences118
matches
0"Just the sigh of wind"
1"Then it took another step,"
2"Just a smooth, featureless oval"
3"Only a cold, calculating interest."
ratio0.034
67.46% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences118
matches
0"She had come to the"
1"He’d spoken of a door,"
2"It was the kind of"
3"Their colours were too vivid,"
4"They looked painted."
5"Her hand went instinctively to"
6"She didn't turn."
7"She listened, her breath held"
8"She scanned the perimeter, her"
9"They formed a perfect circle."
10"She started walking again, her"
11"She moved towards the largest"
12"It was tall and impossibly"
13"It moved with a stuttering,"
14"It had no face."
15"Her mind, her cool-headed, quick-thinking"
16"They were rooted to the"
17"It raised one long, spindly"
18"It pointed at her."
19"She stumbled backwards, her boots"
ratio0.381
32.03% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount101
totalSentences118
matches
0"The ancient oak standing stones"
1"Aurora Carter’s boots sank slightly"
2"The Heartstone pendant against her"
3"Everything was wrong."
4"She had come to the"
5"He’d spoken of a door,"
6"A Hel portal."
7"It was the kind of"
8"That was the detail that"
9"The wildflowers, a impossible tapestry"
10"Their colours were too vivid,"
11"They looked painted."
12"A twig snapped behind her."
13"Her hand went instinctively to"
14"She didn't turn."
15"Turning was what prey did."
16"She listened, her breath held"
17"She scanned the perimeter, her"
18"They formed a perfect circle."
19"She started walking again, her"
ratio0.856
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences118
matches(empty)
ratio0
12.99% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount12
matches
0"That was the detail that had landed her here, in the heart of Richmond Park after hours, trespassing in a place that felt older and more dangerous than London i…"
1"She scanned the perimeter, her gaze tracing the line of standing stones."
2"She started walking again, her steps deliberate, her eyes scanning the ground."
3"A thick, muffling blanket that smothered the rustle of leaves, the chirp of insects, the distant hum of the city."
4"It moved with a stuttering, unnatural gait, a lurching motion that defied biology."
5"Her mind, her cool-headed, quick-thinking mind that had gotten her out of more scrapes than she could count, went blank with a primal, animal terror."
6"The gemstone flared with a sudden, intense cold, a painful shock that jolted her from her stupor."
7"The creature began to move towards her, its stuttering, lurching steps eating up the distance."
8"It widened, stretching vertically, revealing not a mouth, but a glistening, spiralling void, a vortex of absolute blackness that seemed to drink the light aroun…"
9"The smell of copper intensified, a wave of nausea that made her gag."
10"She raised the bone shard and, with a scream that tore from her throat, she hurled it at the thing."
11"With a sound like tearing silk, it dissolved, its long limbs folding in on themselves until it was nothing more than a wisp of shadow that melted into the groun…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences2
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
78.7157%