Run: 2026-02-19-01KHTXSE0411D27Z456B2XZ8C1

Run Details

Duration:
1m 5s
Cost:
$0.011253
Provider:
Together

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 pendant burned against her chest. Rory's fingers found the chain before conscious thought caught up. The Heartstone pulsed hot through her shirt, that strange crimson glow bleeding through the fabric like a slow wound. She'd learned to read it over the past three weeks, ever since the thing appeared in her flat wrapped in nothing but brown paper and her own name written in handwriting she didn't recognise. Warm meant something nearby. Hot meant close. This? This was searing. She ducked beneath a low-hanging branch and pushed deeper into Richmond Park. The trees here grew differently, she'd noticed that much on her last two visits. Twisted in on themselves, bark spiralling wrong ways, roots breaking through the soil at angles that defied gravity. The standing oaks marked the boundary, ancient and patient, and she'd walked past them an hour ago. Should have reached the clearing by now. Her phone showed 11:47 PM. The battery had been full when she'd left her flat above Silas' bar. Now it blinked red at twelve percent, the screen flickering each time she checked. "Come on." She tapped the glass. The maps app had frozen on a loading screen ten minutes back. The delivery had been simple enough. Mrs. Chen at number forty-seven, regular customer, always tipped well. But number forty-seven didn't exist on any street in Richmond. The address had led her here instead, to the edge of the park, and then the GPS had died entirely. Rory stopped walking. The silence pressed in. London never went quiet, not really. Sirens, traffic, the distant rumble of the Underground, someone's bass-heavy music bleeding through closed windows. You learned to tune it out, to let it become white noise. But this wasn't London's muffled background hum. This was nothing. She turned in a slow circle. Trees surrounded her, their branches skeletal against the sky. No stars. No moon. Just that strange amber glow that seemed to come from everywhere and nowhere, like the air itself had learned to shine. "Hello?" Her voice didn't echo. The word fell flat, swallowed by the dark. The pendant's heat intensified. Rory winced and pulled the chain over her head. The gemstone dangled in the air, that deep crimson colour shifting, swirling, like something lived inside it. The glow strengthened, and she could see it now, a faint thread of light stretching ahead of her through the trees. A path. She hadn't come this way before. The last two visits, the grove had been easy to find, a natural clearing that opened up between the oaks like a secret the park had been keeping. Wildflowers in impossible colours, soft grass that smelled like honey, and that strange sense of peace that settled over everything inside the boundary. But the thread didn't lead toward where the grove should be. It led deeper. Rory followed it anyway. The trees changed first. Oak gave way to something older, darker, bark that looked almost like scales in the amber half-light. The branches curved overhead, interlocking, forming a tunnel that blocked out even that strange ambient glow. Only the pendant's thread remained, that thin line of crimson cutting through the black. She counted her steps. Habit, partly. Her father had taught her that, back when she'd still thought she might follow him into law. Always know your exit. Always have your count. Thirty-seven steps since the tunnel began. Forty-one. The ground softened beneath her boots. Not mud, something else. Spongy. Wrong. She looked down and wished she hadn't. Wildflowers. They carpeted the forest floor, but these weren't the bright blooms from the grove's heart. These were pallid, almost colourless, their petals thin as paper. They bent beneath her feet but didn't break, springing back up the moment she passed. Fifty-three steps. A sound. Small. Behind her. Rory stopped walking. The pendant swung on its chain, casting shifting shadows across the scaled bark. "Is someone there?" Nothing answered. The silence had returned, heavier than before. She counted to ten. Then turned around. The tunnel stretched back the way she'd come, empty and dark. No movement. No figure. Just the interlocking branches and that faint amber glow bleeding through the gaps. Her shoulders loosened. Just paranoia. Just the dark playing tricks. She turned back around. And froze. The woman stood twenty feet ahead, half-hidden by a tree's curved trunk. Dark hair. Darker eyes. A face that might have been beautiful once, before something had torn it open. Rory's hand moved to the pendant without thinking. The gemstone blazed, crimson light flooding the tunnel, and in that flash she saw it clearly. The woman wasn't standing. She was pinned to the tree. Branches had grown through her, erupting from her chest, her shoulders, the soft flesh of her throat. Her mouth hung open, but no sound came out. Her eyes moved, fixed on Rory, and something in them begged. Then the light faded, and darkness rushed back in. Rory ran. The tunnel twisted. She'd counted fifty-three steps on the way in, but she'd run twice that now and still the branches overhead didn't break. The pendant swung wildly against her chest, burning hot, and she clutched it without thinking, focusing on that heat instead of the cold that pressed against her back. Not alone. She wasn't alone. A branch snagged her hair. She ripped free, felt strands tear loose, kept moving. The ground sloped downward. Her boot caught on something, and she stumbled, one hand shooting out to catch herself against the nearest tree. Her palm sank into the bark. It gave beneath her fingers like wet flesh. Warm. Pulsing. She wrenched her hand back and kept running. The tunnel ended without warning. One moment, darkness and branches and that suffocating closeness. The next, open air and that familiar amber glow and the wildflowers beneath her feet, bright and honey-scented and utterly wrong after what she'd seen. Rory collapsed to her knees. Her lungs burned. Her heart hammered against her ribs. The pendant had cooled, that strange heat fading to something almost pleasant, but she couldn't make herself let go of it. The grove spread out before her. She recognised the clearing, the circle of standing stones at its edge, the way the light seemed to pool in the centre like something liquid. But something was different. The stones had moved. She remembered them clearly from her last visit, a loose circle, gaps between each one where she'd entered and exited. Now they stood closer together, gaps narrowed, and that amber light poured from between them like water through a cracked dam. And in the centre of the clearing, where before there had been nothing but soft grass and impossible flowers, now there was a door. It stood on its own, no walls, no frame, just a door of dark wood set into nothing at all. A silver handle caught the light. Iron hinges. A keyhole that seemed to swallow the glow rather than reflect it. Rory climbed to her feet. Every instinct screamed at her to turn back, to find the tunnel, to count her steps in reverse and get out of this place before the wrongness swallowed her whole. But the pendant pulled forward, that subtle weight on its chain, and she found herself walking toward the door anyway. The wildflowers brushed against her ankles. Their scent had changed, honey giving way to something copper-sharp. She didn't look down. Twenty feet from the door, she stopped. A figure stood beside it. Not the pinned woman, not the thing she'd seen in the tunnel. Something else. Taller. Wrapped in shadow that moved independent of the light, like it breathed on its own. It turned toward her. Rory's hand found the pendant again. The gemstone pulsed, that warmth building, and she realised with sudden clarity that the figure wasn't approaching her. It was waiting. "Who are you?" The question came out steadier than she expected. Three weeks with this strange pendant, two visits to a grove that shouldn't exist, and somehow she'd learned that fear didn't help. Thinking did. The figure didn't answer. Instead, it raised one hand and pointed at the door. Understanding settled over her like cold water. She was supposed to open it. That's why the pendant had led her here, why the tunnel had shown her that woman, why everything had been building toward this moment. The grove wanted her to walk through. Rory took another step forward. Then another. The pendant's glow brightened with each movement, casting her shadow long and strange across the wildflowers. She reached for the handle. The door swung open before she could touch it. Darkness waited on the other side, deeper than the tunnel, darker than the sky above. But in that darkness, something moved. Many things. The sound of them filled the air, a chorus of whispers that shouldn't have been audible, that crawled into her ears and settled behind her eyes. The pendant burned one final time, and the whispers resolved into words. *"Welcome home, Malphora."*
created_at"2026-02-19T12:25:25.261Z" 2/19/2026, 12:25:25 PM
model"z-ai/glm-5-20260211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency559
moderation_latency(null)
generation_time64552
tokens_prompt4560
tokens_completion2715
native_tokens_prompt4127
native_tokens_completion2227
native_tokens_completion_images(null)
native_tokens_reasoning352
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"
usage0.0112534
router(null)
provider_responses
0
endpoint_id"4d258291-b320-4785-a67d-74b27fa7a569"
id"oXzjfm7-2dTqGa-9d05bf2d40e40649"
is_byokfalse
latency559
model_permaslug"z-ai/glm-5-20260211"
provider_name"Together"
status200
api_type"completions"
id"gen-1771503925-g8Wj5AirE8dyIEukWs8i"
upstream_id"oXzjfm7-2dTqGa-9d05bf2d40e40649"
total_cost0.0112534
cache_discount(null)
upstream_inference_cost0
provider_name"Together"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences5
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
93.39% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1512
totalAiIsmAdverbs2
found
0
adverb"really"
count1
1
adverb"utterly"
count1
highlights
0"really"
1"utterly"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Chen"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
63.62% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1512
totalAiIsms11
found
0
word"pulsed"
count2
1
word"searing"
count1
2
word"silence"
count2
3
word"echo"
count1
4
word"sense of"
count1
5
word"familiar"
count1
6
word"weight"
count1
7
word"warmth"
count1
8
word"resolved"
count1
highlights
0"pulsed"
1"searing"
2"silence"
3"echo"
4"sense of"
5"familiar"
6"weight"
7"warmth"
8"resolved"
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
narrationSentences167
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences167
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences171
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords3
totalWords1500
ratio0.002
matches
0"\"Welcome home, Malphora.\""
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions1
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions19
wordCount1486
uniqueNames6
maxNameDensity0.81
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Heartstone1
Richmond2
Park1
Underground1
London2
Rory12
persons
0"Rory"
places
0"Richmond"
1"Park"
2"London"
globalScore1
windowScore1
71.05% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences95
glossingSentenceCount3
matches
0"glow that seemed to come from everywhere and nowhere, like the air itself had learned to shine"
1"smelled like honey, and that strange sense"
2"keyhole that seemed to swallow the glow rather than reflect it"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1500
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences171
matches
0"noticed that much"
1"learned that fear"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs74
mean20.27
std18.41
cv0.908
sampleLengths
06
171
23
361
47
532
618
746
83
944
103
1140
121
1312
1451
152
1657
1711
183
194
2051
2137
221
2319
241
2540
262
275
2816
293
309
317
3228
3310
344
352
3630
3724
384
3943
409
412
4252
435
4437
456
4610
478
4839
4935
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences167
matches
0"was pinned"
1"was supposed"
97.83% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs261
matches
0"was searing"
1"wasn't standing"
2"wasn't approaching"
3"was waiting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences171
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount168
adjectiveStacks0
stackExamples(empty)
adverbCount6
adverbRatio0.03571428571428571
lyAdverbCount1
lyAdverbRatio0.005952380952380952
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences171
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences171
mean8.77
std7.22
cv0.823
sampleLengths
06
110
219
334
44
53
61
73
812
914
1018
1117
127
135
1413
1514
166
1712
186
191
209
2110
2220
233
244
256
2615
2712
287
293
306
319
322
332
3421
351
364
378
384
399
4017
4121
422
436
4428
4523
4611
473
484
494
53.22% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3684210526315789
totalSentences171
uniqueOpeners63
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount9
totalSentences136
matches
0"Just that strange amber glow"
1"Only the pendant's thread remained,"
2"Always know your exit."
3"Always have your count."
4"Then turned around."
5"Just the interlocking branches and"
6"Just the dark playing tricks."
7"Then the light faded, and"
8"Instead, it raised one hand"
ratio0.066
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences136
matches
0"She'd learned to read it"
1"She ducked beneath a low-hanging"
2"Her phone showed 11:47 PM."
3"She tapped the glass"
4"You learned to tune it"
5"She turned in a slow"
6"Her voice didn't echo."
7"She hadn't come this way"
8"It led deeper."
9"She counted her steps."
10"Her father had taught her"
11"She looked down and wished"
12"They carpeted the forest floor,"
13"They bent beneath her feet"
14"She counted to ten."
15"Her shoulders loosened."
16"She turned back around."
17"She was pinned to the"
18"Her mouth hung open, but"
19"Her eyes moved, fixed on"
ratio0.279
73.97% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount105
totalSentences136
matches
0"The pendant burned against her"
1"Rory's fingers found the chain"
2"The Heartstone pulsed hot through"
3"She'd learned to read it"
4"This was searing."
5"She ducked beneath a low-hanging"
6"The trees here grew differently,"
7"The standing oaks marked the"
8"Her phone showed 11:47 PM."
9"The battery had been full"
10"She tapped the glass"
11"The maps app had frozen"
12"The delivery had been simple"
13"Chen at number forty-seven, regular"
14"The address had led her"
15"Rory stopped walking."
16"The silence pressed in."
17"London never went quiet, not"
18"You learned to tune it"
19"This was nothing."
ratio0.772
73.53% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences136
matches
0"Now it blinked red at"
1"Now they stood closer together,"
ratio0.015
94.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences59
technicalSentenceCount4
matches
0"Twisted in on themselves, bark spiralling wrong ways, roots breaking through the soil at angles that defied gravity."
1"Wildflowers in impossible colours, soft grass that smelled like honey, and that strange sense of peace that settled over everything inside the boundary."
2"The pendant swung wildly against her chest, burning hot, and she clutched it without thinking, focusing on that heat instead of the cold that pressed against he…"
3"The sound of them filled the air, a chorus of whispers that shouldn't have been audible, that crawled into her ears and settled behind her eyes."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
93.3680%