Run: 2026-02-19-01KHTXDZ3297ANJYD8YK9CBKCP

Run Details

Duration:
23.1s
Cost:
$0.004034
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 loomed, their bark like wrinkled leather in the faint moonlight. Aurora pushed through the last of the clinging bracken, the familiar crunch of dry leaves under her boots sounding too loud in the stillness. The Fae Grove. She had come here seeking answers, following the faint, insistent warmth of the Heartstone pendant against her skin. But the air, usually thick with the scent of year-round wildflowers and damp earth, was thin and sterile, like a room that had been sealed for a long time. The pendant’s heat was a steady thrum, a beacon guiding her deeper into the clearing. She clutched it, its smooth, crimson surface a small comfort. Isolde, the grove’s keeper, had promised her answers about the pendant, about the strange, shadowy figures that had been dogging her steps since she’d left Evan. *Tomorrow at dusk*, Isolde had said, her voice like the rustle of leaves. But the pendant had begun to burn against her skin an hour ago, a silent, urgent summons she couldn’t ignore. Something was wrong. The usual symphony of the night was absent. No owls called, no foxes barked their sharp, urban cries. Even the wind seemed to hold its breath, refusing to stir the branches of the ancient trees that formed a dense wall around the grove. The only sound was her own breathing, ragged and too loud in her ears. A twig snapped behind her. Rory froze, her hand instinctively going to the small canister of pepper spray in her jacket pocket. She turned slowly, her eyes scanning the dark line of the woods she had just emerged from. Nothing. Just the impenetrable shadows between the massive trunks. An animal, she told herself. A deer. A badger. Richmond Park was full of them. But the silence that followed the snap was heavier than before. It was an attentive silence, a listening silence. She turned back towards the centre of the grove, her pace quickening. The wildflowers, usually a vibrant carpet of impossible colours, seemed muted, their heads bowed as if in mourning. Their scent was gone. A soft whisper slithered past her ear, a word she couldn't quite catch, sibilant and cold. It wasn't the wind. There was no wind. She spun around, her heart starting a frantic drumbeat against her ribs. Again, nothing. The standing stones watched her, their weathered faces impassive and ancient. They had always felt protective, like silent guardians. Tonight they felt like jury members, waiting for a verdict. The Heartstone pendant flared with sudden, intense heat, making her gasp. Its inner crimson glow pulsed brightly, casting long, dancing shadows that writhed around her feet. The light wasn't comforting; it felt like an alarm, a beacon broadcasting her location to whatever was watching from the darkness. She started moving again, faster this time, her boots scuffing the dirt. She needed to find Isolde. Or get out. Getting out was starting to feel like the better option. She reached the centre of the clearing, a small, moss-covered altar stone where she usually met the Fae. It was empty. "Isolde?" Her voice was a bare whisper, swallowed by the oppressive quiet. The whisper came again, closer this time, clearer. *Malphora.* Rory’s blood ran cold. That name. She hadn't heard it since she was a child, a nonsense word her Irish grandmother used to murmur when she thought Rory was misbehaving. A name for a child who didn't belong, a changeling. It was a joke, a family story. It wasn't real. "Who's there?" she called out, her voice stronger now, laced with a fear she couldn't hide. "Show yourself." Movement at the edge of her vision. A flicker. She snapped her head to the left, towards the line of hawthorn that marked the eastern boundary of the grove. For a fraction of a second, she saw it. A figure, tall and unnaturally thin, its limbs too long for its body. It was the colour of rotting bark and shadow, and it moved with a liquid, disjointed grace that made her stomach clench. Then it was gone, melting back into the gloom as if it had never been there. She backed away, her breath catching in her throat. This wasn't some Fae trick. This was something else. Something old and hungry. The pendant was burning now, so hot she was surprised it didn't scorch her skin. It wasn't just a beacon; it was a ward, and it was failing. Another sound. A wet, tearing sound, like cloth being slowly ripped apart, but with a fleshy undertone that set her teeth on edge. It came from all around her now, a chorus of quiet, deliberate wrongness. The shadows at the periphery of her vision seemed to deepen, to coalesce. They weren't just absences of light anymore; they were solid, tangible things, and they were inching closer. She broke into a run, not towards the path she came from, but towards the opposite side of the grove, where the boundary was marked by a cluster of ancient yew trees. She had to get out. The rules of the grove, the strange time dilation, felt like a trap now. Minutes could be passing outside, or days. She didn't want to find out which. As she ran, the ground beneath her feet seemed to soften, to cling to her boots. The air grew thick, difficult to breathe, tasting of dust and decay. The whispering grew louder, a cacophony of sibilant hisses all repeating that one, hated name. *Malphora. Malphora. Malphora.* She risked a glance back. The figures were there now, no longer hiding. Three of them, standing just beyond the altar stone. They were taller than any man, their bodies composed of shifting shadow and twisted wood. They had no faces, only smooth, oval planes of darkness that seemed to absorb the moonlight. They didn't run, they simply glided, their long, spindly legs eating up the ground between them. Rory screamed, a raw, desperate sound that was torn from her lungs. She put on a final burst of speed, her lungs burning, the yew trees growing closer. The boundary. She just had to cross the boundary. A long, shadowy arm, thin as a branch and ending in wicked-looking talons, shot out from her right, faster than she could react. It didn't grab her, but it raked across her side, tearing through her jacket and the flesh beneath. A sharp, cold pain bloomed in her ribs. She stumbled, crying out, but didn't fall. She could see the gap in the trees now, the familiar, mundane darkness of the rest of the park just beyond. Another arm whipped out, this time from the left, wrapping around her ankle. It felt like a band of cold iron. She fell hard, the impact knocking the wind from her. The pendant flew from her grasp, skittering across the mossy ground and landing near the altar stone. Its crimson light flickered and died. The whispers stopped. The silence that fell was absolute, more terrifying than the noise had been. Cold seeped into her from the shadowy limb holding her ankle, a numbing, creeping cold that felt like death itself. She twisted, trying to kick free, but it was useless. The three figures glided towards her, their featureless heads tilted down in what she could only interpret as curiosity. The one that held her raised its other hand, its talons glinting in the faint light.
created_at"2026-02-19T12:19:09.547Z" 2/19/2026, 12:19:09 PM
model"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency539
moderation_latency(null)
generation_time22909
tokens_prompt4560
tokens_completion1823
native_tokens_prompt4132
native_tokens_completion1627
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4131
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"
usage0.00403436
router(null)
provider_responses
0
endpoint_id"562fe77f-c92f-4556-b43b-ea7da6891b6a"
id"f2fbef852322dc2269dbf0f67ded8444"
is_byokfalse
latency539
model_permaslug"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
provider_name"Novita"
status200
api_type"completions"
id"gen-1771503549-EPTqlZP1Pwyo0vKTan8L"
upstream_id"f2fbef852322dc2269dbf0f67ded8444"
total_cost0.00403436
cache_discount0.00181764
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences3
tagDensity0.667
leniency1
rawRatio0
effectiveRatio0
91.94% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1240
totalAiIsmAdverbs2
found
0
adverb"slowly"
count2
highlights
0"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)
wordCount1240
totalAiIsms27
found
0
word"loomed"
count1
1
word"familiar"
count2
2
word"warmth"
count1
3
word"beacon"
count3
4
word"symphony"
count1
5
word"scanning"
count1
6
word"silence"
count4
7
word"whisper"
count3
8
word"pulsed"
count1
9
word"dancing"
count1
10
word"comforting"
count1
11
word"oppressive"
count1
12
word"flicker"
count1
13
word"stomach"
count1
14
word"gloom"
count1
15
word"tangible"
count1
16
word"cacophony"
count1
17
word"flickered"
count1
18
word"glinting"
count1
highlights
0"loomed"
1"familiar"
2"warmth"
3"beacon"
4"symphony"
5"scanning"
6"silence"
7"whisper"
8"pulsed"
9"dancing"
10"comforting"
11"oppressive"
12"flicker"
13"stomach"
14"gloom"
15"tangible"
16"cacophony"
17"flickered"
18"glinting"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood ran cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences111
matches
0"was surprised"
91.38% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences111
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences112
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords7
totalWords1237
ratio0.006
matches
0"Tomorrow at dusk"
1"Malphora."
2"Malphora. Malphora. Malphora."
75.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions1
matches
0"An animal, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions17
wordCount1232
uniqueNames9
maxNameDensity0.32
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Fae"
discoveredNames
Fae3
Grove1
Heartstone2
Evan1
Isolde3
Park1
Rory4
Irish1
Movement1
persons
0"Evan"
1"Isolde"
2"Rory"
places
0"Fae"
1"Grove"
2"Park"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount8
matches
0"seemed muted their heads bowed as if in mourning"
1"quite catch, sibilant and cold"
2"felt like jury members, waiting for a v"
3"felt like an alarm, a beacon broadcasti"
4"felt like a trap now"
5"darkness that seemed to absorb the moonlight"
6"felt like a band of cold iron"
7"felt like death itself"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.808
wordCount1237
matches
0"not towards the path she came from, but towards the opposite side of the grove"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences112
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs25
mean49.48
std26.72
cv0.54
sampleLengths
089
184
260
35
458
553
667
747
851
912
109
1150
1218
1389
1450
1566
1665
1743
183
1969
2037
2177
2254
233
2478
86.30% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences111
matches
0"been sealed"
1"was gone"
2"was gone"
3"was surprised"
4"was marked"
5"was torn"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs200
matches
0"was watching"
1"was starting"
2"was misbehaving"
3"was burning"
4"was failing"
5"were inching"
66.33% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount3
flaggedSentences3
totalSentences112
ratio0.027
matches
0"The light wasn't comforting; it felt like an alarm, a beacon broadcasting her location to whatever was watching from the darkness."
1"It wasn't just a beacon; it was a ward, and it was failing."
2"They weren't just absences of light anymore; they were solid, tangible things, and they were inching closer."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1235
adjectiveStacks1
stackExamples
0"small, moss-covered altar"
adverbCount45
adverbRatio0.03643724696356275
lyAdverbCount14
lyAdverbRatio0.011336032388663968
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences112
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences112
mean11.04
std6.92
cv0.627
sampleLengths
015
124
23
318
429
515
610
726
813
920
103
118
1210
1325
1414
155
1617
1717
181
198
205
212
222
236
2411
258
2612
2718
284
2916
304
314
3212
332
3411
358
3610
3711
3815
3921
4012
415
423
4310
4418
453
4612
478
481
494
43.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.33035714285714285
totalSentences112
uniqueOpeners37
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences99
matches
0"Even the wind seemed to"
1"Just the impenetrable shadows between"
2"Then it was gone, melting"
ratio0.03
54.34% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences99
matches
0"She had come here seeking"
1"She clutched it, its smooth,"
2"She turned slowly, her eyes"
3"It was an attentive silence,"
4"She turned back towards the"
5"Their scent was gone."
6"It wasn't the wind."
7"She spun around, her heart"
8"They had always felt protective,"
9"Its inner crimson glow pulsed"
10"She started moving again, faster"
11"She needed to find Isolde."
12"She reached the centre of"
13"It was empty."
14"Her voice was a bare"
15"She hadn't heard it since"
16"It was a joke, a"
17"It wasn't real."
18"she called out, her voice"
19"She snapped her head to"
ratio0.414
35.76% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences99
matches
0"The ancient oak standing stones"
1"Aurora pushed through the last"
2"The Fae Grove."
3"She had come here seeking"
4"The pendant’s heat was a"
5"She clutched it, its smooth,"
6"Isolde, the grove’s keeper, had"
7"Something was wrong."
8"The usual symphony of the"
9"The only sound was her"
10"A twig snapped behind her."
11"Rory froze, her hand instinctively"
12"She turned slowly, her eyes"
13"An animal, she told herself."
14"Richmond Park was full of"
15"It was an attentive silence,"
16"She turned back towards the"
17"The wildflowers, usually a vibrant"
18"Their scent was gone."
19"A soft whisper slithered past"
ratio0.848
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences99
matches(empty)
ratio0
47.62% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount8
matches
0"Aurora pushed through the last of the clinging bracken, the familiar crunch of dry leaves under her boots sounding too loud in the stillness."
1"But the air, usually thick with the scent of year-round wildflowers and damp earth, was thin and sterile, like a room that had been sealed for a long time."
2"The wildflowers, usually a vibrant carpet of impossible colours, seemed muted, their heads bowed as if in mourning."
3"She started moving again, faster this time, her boots scuffing the dirt."
4"It was the colour of rotting bark and shadow, and it moved with a liquid, disjointed grace that made her stomach clench."
5"A wet, tearing sound, like cloth being slowly ripped apart, but with a fleshy undertone that set her teeth on edge."
6"She put on a final burst of speed, her lungs burning, the yew trees growing closer."
7"The pendant flew from her grasp, skittering across the mossy ground and landing near the altar stone."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she called out (call out)"
dialogueSentences3
tagDensity0.333
leniency0.667
rawRatio1
effectiveRatio0.667
72.8703%