Run: 2026-02-19-01KHTXMEW9MESE1CVVWZJEZ9DQ

Run Details

Duration:
9.5s
Cost:
$0.005036
Provider:
Google AI Studio

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 stone pulsed, a low, rhythmic hum Aurora felt more than heard, resonating deep in her bones. She reached out, her fingers brushing the cold, rough surface of the largest standing stone, the faint crimson glow of the Heartstone Pendant warm against her skin. Moonlight, thin and watery, struggled to pierce the dense canopy above, casting skeletal shadows that danced with every rustle of leaves. "Isolde?" she whispered into the oppressive quiet. Her voice sounded brittle, alien in the deep stillness. The air tasted of damp earth and something distinctly metallic, like old pennies, but sharper, beneath the sweetness of the perpetual wildflowers. She had followed the half-remembered directions, the cryptic clues left in a forgotten journal. *The Grove calls to those who are lost*, it read. *Only in the deepest shadows will the truest path reveal itself*. Aurora, feeling lost in the labyrinth of her own life, had been desperate enough to listen. Richmond Park at this hour was usually empty, a sprawling, dark expanse under the quiet vigilance of the moon. But this clearing, this Fae Grove, felt profoundly different. Time shifted here, a fact Isolde had warned about, but Aurora still clutched at the idea it wouldn't warp too much. A twig snapped behind her. Rory spun, hands instinctively rising. Nothing. Just the vast, inky blackness beyond the halo of the stones. The scent of copper grew stronger, a cloying, heavy aroma that prickled the back of her throat. She shifted her weight, the damp ground soaking through the thin soles of her trainers. Her breath hitched. The air suddenly turned cold, so profoundly cold it felt like a physical pressure. "Hello?" The word was barely a breath. A high-pitched giggle, sharp and brittle, skittered through the trees, dying as quickly as it came. It was too close, too childlike, too devoid of human warmth. Aurora’s heart hammered a frantic drum against her ribs. The pendant vibrated against her chest, a frantic tremor. Not just warmth now, but a searing heat. She took a cautious step, her bright blue eyes straining to pierce the gloom. The wildflowers — impossibly vibrant, deep purples and startling golds, even in this near darkness — seemed to sway of their own accord, no breeze stirring them. The ground beneath her felt unnaturally soft, yielding. Another snap, closer this time, accompanied by a faint scuttling sound, like something too large dragging itself through the undergrowth. Rory held her breath, listening. The sounds stopped when she did. Her quick, out-of-the-box mind was racing, trying to rationalise. A badger? A fox? The logical answers felt flimsy, dissolving like mist in the face of this growing wrongness. A shadow detached itself from the deeper darkness at the edge of the clearing. It was tall, impossibly thin, and moved with a disjointed, jerky grace that made Aurora’s stomach churn. It wasn't human. It couldn't be. Her hand flew to her mouth, stifling a gasp. It paused, a mere outline against the faint glow of the distant city lights, then dissolved back into the trees. "What was that?" she demanded, her voice shaking. No answer, only the relentless chirping of unseen crickets, a shrill symphony that grated on her nerves. She felt observed, every inch of her skin prickling with the sensation of countless eyes. The Fae Grove always felt like eyes were on you, Isolde had said, but this felt different. Not curious, but predatory. She backed away slowly towards the nearest standing stone, her fingers reaching for its solid, grounding presence. The stone felt warm now, radiating a faint, internal heat that mirrored the pendant. Leaning back against the moss-covered rock, she tried to slow her racing thoughts. Evan's cruel words, Cardiff's murky streets, even the comforting bustle of London, all felt a million miles away. This was a place beyond maps, beyond reason. A low growl ripped through the air. It wasn’t an animal growl, not precisely. It was too deep, too guttural, as if it was torn from the very earth itself. The wildflowers suddenly wilted, their vibrant colours fading to a sickly grey. The scent of copper intensified, sharp and metallic enough to taste on her tongue. It registered then: *blood*. Aurora swallowed hard, her throat painfully dry. She scanned the tree line, her gaze darting through the oppressive silhouettes. The sense of isolation was absolute, crushing. No birds sang, no wind rustled. Only the distant, thrumming hum of the stone and that chilling growl. A single, shimmering leaf detached itself from a towering oak, spiralling in slow motion to the ground. It was crimson, vibrant, even in the dim light. But it was not autumn. It was midsummer. The Fae Grove, indeed. "Show yourself," she called out, a desperate plea rather than a challenge. The growl intensified, closer now, a low rumble that vibrated through the soles of her trainers, up her legs, straight into her chest. It was coming from all directions, an omnipresent threat. Rory’s breathing grew shallow, ragged. Her eyes darted wildly, trying to pinpoint the source, but the shadows were a living, shifting wall. Then, a pair of eyes glowed in the darkness. Not like an animal's reflective gaze, but with an internal, malevolent light, two pinpricks of icy blue. They were low to the ground, just above the wilting wildflowers. Too low for a wolf, too wide for a cat. They blinked once, slowly, deliberately. She felt a cold, wet touch on her ankle. Rory shrieked, scrambling away from the stone, slipping on the damp earth. She crashed to her knees, her hands sinking into the surprisingly cold, squelching ground. Her bright blue eyes widened, fixed on the patch of earth where she’d fallen. A thick, dark liquid seeped into the soil, staining her hands. It was the colour of dried blood. The glowing blue eyes blinked again, even closer now, peering at her from the undergrowth. And then, a hand, skeletal and elongated, pushed through the leaves, its fingers tipped with needle-sharp claws. It seemed to reach for her, slowly, deliberately, as if savouring the moment. The Heartstone Pendant blazed against her skin, burning hot like a live coal. Aurora scrambled backwards, heart pounding, adrenaline coursing through her veins. The image of the hand, impossibly long and pale, seared itself into her mind. This was not Isolde. This was something else. Something ancient and hungry. "Get away from me!" she screamed, her voice cracking. The blue eyes narrowed, and a faint, rasping sound, like dry leaves skittering across stone, filled the air. It was a laugh. A cruel, ancient laugh that promised nothing but terror. The elongated hand twitched, beckoning.
created_at"2026-02-19T12:22:42.322Z" 2/19/2026, 12:22:42 PM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency569
moderation_latency(null)
generation_time9473
tokens_prompt4560
tokens_completion1717
native_tokens_prompt4427
native_tokens_completion1483
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
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"
usage0.0050356
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency569
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771503762-A3fqie4NvUUxhuOlUONk"
upstream_id(null)
total_cost0.0050356
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences5
tagDensity0.8
leniency1
rawRatio0
effectiveRatio0
54.87% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1108
totalAiIsmAdverbs10
found
0
adverb"suddenly"
count2
1
adverb"quickly"
count1
2
adverb"slowly"
count3
3
adverb"precisely"
count1
4
adverb"very"
count1
5
adverb"deliberately"
count2
highlights
0"suddenly"
1"quickly"
2"slowly"
3"precisely"
4"very"
5"deliberately"
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)
5.23% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1108
totalAiIsms21
found
0
word"pulsed"
count1
1
word"rhythmic"
count1
2
word"oppressive"
count2
3
word"weight"
count1
4
word"warmth"
count2
5
word"vibrated"
count2
6
word"searing"
count1
7
word"gloom"
count1
8
word"racing"
count2
9
word"stomach"
count1
10
word"churn"
count1
11
word"symphony"
count1
12
word"comforting"
count1
13
word"scanned"
count1
14
word"sense of"
count1
15
word"chilling"
count1
16
word"pounding"
count1
highlights
0"pulsed"
1"rhythmic"
2"oppressive"
3"weight"
4"warmth"
5"vibrated"
6"searing"
7"gloom"
8"racing"
9"stomach"
10"churn"
11"symphony"
12"comforting"
13"scanned"
14"sense of"
15"chilling"
16"pounding"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count2
highlights
0"eyes widened"
1"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences99
matches(empty)
99.57% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences99
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences99
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen27
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords20
totalWords1106
ratio0.018
matches
0"The Grove calls to those who are lost"
1"Only in the deepest shadows will the truest path reveal itself"
2"blood"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1095
uniqueNames10
maxNameDensity0.64
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Aurora7
Heartstone2
Pendant2
Grove4
Park1
Fae3
Isolde3
Cardiff1
London1
Rory4
persons
0"Aurora"
1"Pendant"
2"Isolde"
3"Rory"
places
0"Grove"
1"Park"
2"Fae"
3"Cardiff"
4"London"
globalScore1
windowScore1
51.32% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount3
matches
0"felt like a physical pressure"
1"felt like eyes were on you, Isolde had"
2"as if savouring the moment"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords2.712
wordCount1106
matches
0"Not just warmth now, but a searing heat"
1"Not curious, but predatory"
2"Not like an animal's reflective gaze, but with an internal, malevolent light, two pinpricks of icy blu"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences99
matches(empty)
91.70% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs23
mean48.09
std22.65
cv0.471
sampleLengths
066
138
2100
371
47
553
649
759
866
98
1053
1170
1260
1344
1438
1512
1654
1752
1867
1958
2036
219
2236
98.17% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences99
matches
0"are lost"
1"was torn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs172
matches
0"was racing"
1"was coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences1
totalSentences99
ratio0.01
matches
0"The wildflowers — impossibly vibrant, deep purples and startling golds, even in this near darkness — seemed to sway of their own accord, no breeze stirring them."
80.87% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1097
adjectiveStacks0
stackExamples(empty)
adverbCount64
adverbRatio0.05834092980856882
lyAdverbCount26
lyAdverbRatio0.023701002734731084
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences99
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences99
mean11.17
std5.75
cv0.514
sampleLengths
018
127
221
37
49
522
614
710
811
916
1019
119
1221
135
145
151
1611
1717
1815
193
2014
217
2216
2311
249
259
268
2714
2827
298
3020
315
326
339
342
352
3615
3714
3817
393
403
419
4220
438
4417
4515
4617
474
4817
4914
43.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.30303030303030304
totalSentences99
uniqueOpeners30
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences96
matches
0"*Only in the deepest shadows"
1"Just the vast, inky blackness"
2"Only the distant, thrumming hum"
3"Then, a pair of eyes"
4"Too low for a wolf,"
ratio0.052
74.17% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences96
matches
0"She reached out, her fingers"
1"she whispered into the oppressive"
2"Her voice sounded brittle, alien"
3"She had followed the half-remembered"
4"She shifted her weight, the"
5"Her breath hitched."
6"It was too close, too"
7"She took a cautious step,"
8"Her quick, out-of-the-box mind was"
9"It was tall, impossibly thin,"
10"It wasn't human."
11"It couldn't be."
12"Her hand flew to her"
13"It paused, a mere outline"
14"she demanded, her voice shaking"
15"She felt observed, every inch"
16"She backed away slowly towards"
17"It wasn’t an animal growl,"
18"It was too deep, too"
19"It registered then: *blood*."
ratio0.365
32.92% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount82
totalSentences96
matches
0"The ancient stone pulsed, a"
1"She reached out, her fingers"
2"Moonlight, thin and watery, struggled"
3"she whispered into the oppressive"
4"Her voice sounded brittle, alien"
5"The air tasted of damp"
6"She had followed the half-remembered"
7"*The Grove calls to those"
8"Aurora, feeling lost in the"
9"Richmond Park at this hour"
10"Time shifted here, a fact"
11"A twig snapped behind her."
12"Rory spun, hands instinctively rising."
13"The scent of copper grew"
14"She shifted her weight, the"
15"Her breath hitched."
16"The air suddenly turned cold,"
17"The word was barely a"
18"A high-pitched giggle, sharp and"
19"It was too close, too"
ratio0.854
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences96
matches(empty)
ratio0
60.44% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount6
matches
0"Moonlight, thin and watery, struggled to pierce the dense canopy above, casting skeletal shadows that danced with every rustle of leaves."
1"The scent of copper grew stronger, a cloying, heavy aroma that prickled the back of her throat."
2"It was tall, impossibly thin, and moved with a disjointed, jerky grace that made Aurora’s stomach churn."
3"No answer, only the relentless chirping of unseen crickets, a shrill symphony that grated on her nerves."
4"The stone felt warm now, radiating a faint, internal heat that mirrored the pendant."
5"The growl intensified, closer now, a low rumble that vibrated through the soles of her trainers, up her legs, straight into her chest."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount3
matches
0"she demanded, her voice shaking"
1"she called out, a desperate plea rather than a challenge"
2"she screamed, her voice cracking"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount4
fancyTags
0"she whispered (whisper)"
1"she demanded (demand)"
2"she called out (call out)"
3"she screamed (scream)"
dialogueSentences5
tagDensity0.8
leniency1
rawRatio1
effectiveRatio1
71.9786%