Run: 2026-02-19-01KHTXNXT13CDQQRMMC60BX258

Run Details

Duration:
9.1s
Cost:
$0.004113
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 damp soil squelched under Aurora's trainers with each hesitant step. Brambles, thick as a man's thumb, clawed at her jeans. She pulled her worn jacket tighter, the biting air carrying the scent of wet earth and something else, something cloying and ancient, like forgotten incense. The trees here, ancient oaks mostly, pressed in close, their gnarled branches weaving a canopy so dense it choked out the moon. "Right, Rory," she muttered, her voice swallowed by the oppressive quiet. "Just keep going." Her breath plumed in the frigid air. The Heartstone Pendant, a deep crimson oval on a thin silver chain, pulsed faintly against her sternum. A slow, steady thrum, like a tiny heart beating just beneath her skin. It offered a strange comfort, a small warmth in the encroaching chill. She had found the path easily enough, marked by the ancient oak standing stones that bordered the Fae Grove. The transition had been seamless, a shiver down her spine and then the air went still, the distant hum of traffic from Richmond Park abruptly silenced. The path twisted, illuminated only by the weak beam of her torch, revealing a claustrophobic tunnel of rustling leaves and looming shadows. She knew the Grove had a way of distorting time, an hour in here could be days out there, or minutes. Her current mission, though, felt like an eternity already. She squinted, scanning the edges of the light. Had that shadow just deepened? Or was it just the dancing light playing tricks? A twig snapped behind her. Rory froze, every muscle tensing. The air grew heavy, like the weight of an unseen presence pressing down. She spun, torch beam swinging wildly across a wall of tangled undergrowth. Nothing. Just the dark, impenetrable woods. Her heart hammered against her ribs, echoing the rhythm of the Heartstone. "Hello?" The word felt thin, inadequate against the vast, silent cold. Of course there was no answer. She continued on, faster now, her focus sharpened by the sudden jolt of unease. The path seemed to narrow, the trees growing ever closer, their branches intertwining like skeletal fingers. Wildflowers, impossibly vibrant despite the season, bloomed in defiant splotches of colour along the verges, their petals a startling contrast against the gloom. Too pretty. Wrong. A rustle. Not a twig, this time. Something larger. More deliberate. It came from her right, parallel to her movements, just beyond the reach of her torch. Like something stalking her, just out of sight. She stopped, holding her breath, listening so intently her ears ached. The woods remained motionless, silent. Too silent. Even the wind, which had been a constant companion moments before, had died away entirely. Rory forced herself to take another step, then another, trying to project a confidence she didn't feel. The air grew colder, each breath cutting a sharper pain in her lungs. The pendant on her chest began to glow, a faint, internal light, like a deep ember. It wasn't just warmth now, it was a subtle pulse, a vibration she could feel deep in her bones, building in intensity. This wasn't just *near* a Hel portal, she was practically standing on one. The ground underfoot softened, becoming spongy and yielding. She glanced down. The rich earth faded into a sickly grey, like ash, or bone dust. It seemed to shimmer faintly under the pendant's light. A low, guttural moan drifted from the deepest part of the grove ahead. It wasn't human. It wasn't animal. It was something else, ancient and sorrowful, a sound that resonated with the primordial fear buried deep within her. Her mind screamed at her to run, to turn back and flee this place. But she couldn't. Not yet. She had to find it. Just a little further. The moan came again, closer this time, and with it, a faint, foul odour like a charnel house, or a crypt long disturbed. It clung to the air, sickeningly sweet and metallic. The trees ahead broke open into a small clearing, bathed in an eerie, phosphorescent glow. It wasn't the moonlight, nor her torch. The light seemed to emanate from the very air, a sickly green luminescence that cast long, distorted shadows. In the centre of the clearing stood a single, massive oak, its branches twisted and bare, impossibly ancient. Its trunk was wider than a truck, its bark a patchwork of deep fissures and gaping holes. And then she saw it. Not on the ground, but *in* the tree. Embedded in the gnarled bark, almost swallowed by the wood itself, was a small, crude door. It looked like something from a child's forgotten playhouse, but made of dark, iron-bound wood, covered in intricate, spiralling glyphs that seemed to writhe in the green light. The Heartstone pulsed frantically now, a steady, hammering beat against her chest. This was it. The portal. The source of the wrongness. A low whisper, like dry leaves skittering across pavement, tickled her ear. It wasn't a language she knew, yet the meaning was clear: *You don't belong here.* Her hand trembled as she reached for the door. It felt cold, colder than the freezing air, and rough like forgotten stone. As her fingers grazed the surface, the glyphs flared, pulsing with an inner light that was stronger, more intense than the Heartstone's glow. They twisted, stretching like living things, pulling her focus, drawing her in. A shadow detached itself from the base of the massive oak, coalescing from the oppressive gloom. It was tall, impossibly thin, and seemed to drink the light around it. Aurora couldn't discern any features, no face, no limbs, just a shivering void of deeper darkness against the eerie green light. It took a single, slow step towards her. The moaning returned, louder, deeper, emanating from the shadow itself, a sound of unbearable grief and monstrous hunger. The air grew even colder, a freezing claw raking down her spine. The scent of charnel intensified, gagging her. The Heartstone flared, crimson light exploding outwards, pushing against the encroaching shadow. It gave her a momentary, defiant burst of courage. She had to open the door. Now. She pushed against the cold wood, gritting her teeth, her muscles screaming with the effort. It didn't budge. Not an inch. The shadow advanced another step, its form stretching, distorting. "No," she gasped, her voice barely a whisper. She pushed harder, desperation lending her a surge of strength. The door remained steadfast. A faint, almost imperceptible tremor ran through the ground, vibrating up through her feet. The whisper in her ear intensified, pressing against her eardrum, a cacophony of lost voices. The air grew impossibly thick, like breathing cold treacle. Aurora felt a terrifying certainty that she was not alone in this clearing. Not with the shadow. Not with the whispering voices. The ground shuddered again, more violently this time. A low, grinding sound came from deep within the earth, reverberating through her very bones. The glyphs on the door flared again, blindingly bright, and the cold, unyielding wood *shifted*.
created_at"2026-02-19T12:23:30.376Z" 2/19/2026, 12:23:30 PM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency478
moderation_latency(null)
generation_time9086
tokens_prompt4560
tokens_completion1778
native_tokens_prompt4427
native_tokens_completion1555
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4084
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"
usage0.00411292
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency478
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771503810-muB8xKTDkwoKbTRwD00b"
upstream_id(null)
total_cost0.00411292
cache_discount0.00110268
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences4
tagDensity0.75
leniency1
rawRatio0
effectiveRatio0
91.44% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1168
totalAiIsmAdverbs2
found
0
adverb"very"
count2
highlights
0"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1168
totalAiIsms26
found
0
word"oppressive"
count2
1
word"pulsed"
count2
2
word"warmth"
count2
3
word"chill"
count1
4
word"down her spine"
count2
5
word"looming"
count1
6
word"scanning"
count1
7
word"dancing"
count1
8
word"weight"
count1
9
word"echoing"
count1
10
word"gloom"
count2
11
word"pulse"
count1
12
word"could feel"
count1
13
word"intensity"
count1
14
word"resonated"
count1
15
word"intricate"
count1
16
word"whisper"
count3
17
word"trembled"
count1
18
word"cacophony"
count1
highlights
0"oppressive"
1"pulsed"
2"warmth"
3"chill"
4"down her spine"
5"looming"
6"scanning"
7"dancing"
8"weight"
9"echoing"
10"gloom"
11"pulse"
12"could feel"
13"intensity"
14"resonated"
15"intricate"
16"whisper"
17"trembled"
18"cacophony"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences107
matches(empty)
62.75% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount6
narrationSentences107
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords7
totalWords1167
ratio0.006
matches
0"near"
1"in"
2"You don't belong here."
3"shifted"
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
totalMentions15
wordCount1160
uniqueNames8
maxNameDensity0.43
worstName"Heartstone"
maxWindowNameDensity1
worstWindowName"Aurora"
discoveredNames
Aurora3
Heartstone5
Pendant1
Fae1
Grove2
Richmond1
Park1
Hel1
persons
0"Aurora"
1"Heartstone"
places
0"Fae"
1"Grove"
2"Richmond"
3"Park"
4"Hel"
globalScore1
windowScore1
85.06% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount2
matches
0"felt like an eternity already"
1"glyphs that seemed to writhe in the green light"
2"looked like something from a child's forg"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.857
wordCount1167
matches
0"Not on the ground, but *in* the tree"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences108
matches
0"Had that shadow"
49.09% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs18
mean64.83
std20.87
cv0.322
sampleLengths
068
114
294
374
453
573
668
781
871
960
1075
1179
1227
1357
1495
1558
1682
1738
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences107
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs180
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences108
ratio0
matches(empty)
89.03% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1161
adjectiveStacks0
stackExamples(empty)
adverbCount61
adverbRatio0.05254091300602928
lyAdverbCount21
lyAdverbRatio0.01808785529715762
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean10.81
std6.44
cv0.596
sampleLengths
011
110
225
322
411
53
67
717
813
912
1019
1126
1222
1321
149
158
165
179
185
195
2013
2112
221
235
2412
2511
266
2714
2816
2923
302
311
322
335
342
352
3616
378
3811
395
402
4115
4217
4313
4416
4522
4613
478
483
4913
41.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3055555555555556
totalSentences108
uniqueOpeners33
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences97
matches
0"Just the dark, impenetrable woods."
1"Of course there was no"
2"Even the wind, which had"
3"Just a little further."
ratio0.041
67.42% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences97
matches
0"She pulled her worn jacket"
1"she muttered, her voice swallowed"
2"Her breath plumed in the"
3"It offered a strange comfort,"
4"She had found the path"
5"She knew the Grove had"
6"Her current mission, though, felt"
7"She squinted, scanning the edges"
8"She spun, torch beam swinging"
9"Her heart hammered against her"
10"She continued on, faster now,"
11"It came from her right,"
12"She stopped, holding her breath,"
13"It wasn't just warmth now,"
14"She glanced down."
15"It seemed to shimmer faintly"
16"It wasn't human."
17"It wasn't animal."
18"It was something else, ancient"
19"Her mind screamed at her"
ratio0.381
47.63% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences97
matches
0"The damp soil squelched under"
1"Brambles, thick as a man's"
2"She pulled her worn jacket"
3"The trees here, ancient oaks"
4"she muttered, her voice swallowed"
5"Her breath plumed in the"
6"The Heartstone Pendant, a deep"
7"A slow, steady thrum, like"
8"It offered a strange comfort,"
9"She had found the path"
10"The transition had been seamless,"
11"The path twisted, illuminated only"
12"She knew the Grove had"
13"Her current mission, though, felt"
14"She squinted, scanning the edges"
15"A twig snapped behind her."
16"Rory froze, every muscle tensing."
17"The air grew heavy, like"
18"She spun, torch beam swinging"
19"Her heart hammered against her"
ratio0.825
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
51.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount7
matches
0"The path twisted, illuminated only by the weak beam of her torch, revealing a claustrophobic tunnel of rustling leaves and looming shadows."
1"The path seemed to narrow, the trees growing ever closer, their branches intertwining like skeletal fingers."
2"She stopped, holding her breath, listening so intently her ears ached."
3"It was something else, ancient and sorrowful, a sound that resonated with the primordial fear buried deep within her."
4"It looked like something from a child's forgotten playhouse, but made of dark, iron-bound wood, covered in intricate, spiralling glyphs that seemed to writhe in…"
5"As her fingers grazed the surface, the glyphs flared, pulsing with an inner light that was stronger, more intense than the Heartstone's glow."
6"They twisted, stretching like living things, pulling her focus, drawing her in."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount1
matches
0"she gasped, her voice barely a whisper"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"she muttered (mutter)"
1"she gasped (gasp)"
dialogueSentences4
tagDensity0.5
leniency1
rawRatio1
effectiveRatio1
76.2014%