Run: 2026-02-19-01KHTXV0G119BJ3A69QVR5DFW3

Run Details

Duration:
1m 1s
Cost:
$0.080680
Provider:
Amazon Bedrock

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 collarbone. Rory pressed her palm flat over it through her jacket, felt the crimson warmth pulse once, twice, three times. Steady as a second heartbeat. It hadn't done that since the night she'd found the thing in her delivery bag, nestled between two containers of char siu like someone had tucked it there on purpose. Now the Heartstone throbbed with such urgency that she could feel it through three layers of fabric, and the silver chain had gone hot enough to sting. She ducked beneath a low-hanging branch and stepped into the clearing. The Fae Grove opened before her like a wound in the park. Ancient oak standing stones, six of them, ringed the space in a rough circle maybe twenty metres across. They weren't stones at all, not really. Petrified wood, gnarled and dark, each one taller than she stood. Wildflowers carpeted the ground between them, bluebells and foxglove and things she couldn't name, all in full bloom despite it being the dead of February. Their colours looked wrong in the torchlight. Too vivid. Oversaturated, like a photograph with the contrast cranked up until reality started to buckle. She switched off her phone torch. The flowers still glowed. Not brightly. Not obviously. But in the sudden dark of Richmond Park at two in the morning, with the nearest streetlamp a fifteen-minute walk behind her, those petals held a faint luminescence that had nothing to do with moonlight. The sky above the grove sat thick with cloud. No moon. No stars. Just the soft, bioluminescent shimmer of impossible flowers and the warm pulse of the pendant against her chest. Rory stepped between two of the standing stones. The air changed. She'd expected it, or told herself she had. The temperature dropped, but not in the way cold normally worked. This wasn't wind chill or frost. The warmth simply ceased to exist, replaced by something still and depthless that settled against her skin like wet silk. Her breath didn't fog. She checked twice. The cold was there, she could feel it in her fingers and the tips of her ears, but it produced no vapour. As if the air itself refused to participate. She'd come because of the note. Three words on a torn corner of receipt paper, stuffed through the letterbox of her flat above Silas's bar: GROVE. TONIGHT. ANSWERS. The handwriting matched nothing she recognised, but the ink was the same deep crimson as the Heartstone, and when she'd held the note close to the pendant, both had pulsed in unison. That was enough. She'd spent four months carrying a mysterious artefact, four months of dead ends and half-truths, and she was tired of waiting for information to come to her in manageable doses. So here she stood. Alone in a pocket between worlds, armed with a phone at twelve per cent battery and the stubborn conviction that she could handle whatever came next. The first sound reached her about thirty seconds after she crossed the threshold. A crack. Sharp and close, like someone stepping on a thick branch. It came from her left, beyond the ring of standing stones, somewhere in the dark tangle of Richmond's old-growth oaks. Rory turned towards it and held still. Listened. Nothing. Just the silence of a park after hours, the distant murmur of the A307, the papery rustle of winter branches overhead. She waited a full minute before she moved again. The centre of the grove held a shallow depression in the earth, barely visible beneath the flowers. She knelt beside it and pulled the pendant free from her collar. The Heartstone swung on its silver chain, crimson light pulsing from somewhere deep inside the gem. Thumbnail-sized, the woman at Camden Passage had said when Rory showed it to her. Pre-Roman setting. Possibly Mesopotamian. The woman had wanted to touch it. Rory hadn't let her. The pendant pulled. Not dramatically. Not like a magnet snapping to metal. More like the gentle tug of a fishing line with something small but insistent on the other end. It pulled downward, towards the depression, towards whatever lay beneath the roots and the flowers and the centuries of accumulated earth. Rory lowered it until the gem hung six inches above the ground. It stopped pulsing. The glow held steady, a deep arterial red that painted her fingers and the flowers and the nearest standing stone in shades of old blood. In that light, the foxglove looked like columns of bruised flesh. The bluebells looked like veins. Then something answered. A sound rose from below. Not from any specific point. From everywhere at once, vibrating up through the ground and into her kneecaps, her hip bones, the base of her spine. Low. Subsonic, almost. She felt it more than heard it, a resonance that set her teeth on edge and made the small bones of her inner ear ache. It lasted three seconds. Four. Then it stopped, and the silence that followed felt heavier than before. Thicker. Occupied. Rory tucked the pendant back inside her jacket and stood. "Right." Her voice sounded flat. Absorbed. The grove swallowed the word before it reached the standing stones. "If someone's here, this is the part where you stop pissing about." Nothing. She turned a slow circle. The six standing stones watched her like teeth in a dark mouth. Between them, the flowers had changed. She was certain of it. When she'd arrived, the blooms had faced upward, open to the empty sky. Now they tilted inward. Towards her. Every petal in the clearing angled slightly, subtly, unmistakably towards the spot where she stood. She hadn't moved since she knelt down. The second sound came from her right. Not a crack this time. A breath. Long, slow, deliberate, drawn in through what sounded like too many passages at once. A wheeze and a whistle and something wet underneath both, like lungs that had spent too long submerged. It lasted five seconds, maybe six, and when it ended, Rory could still feel the displaced air against her cheek. Whatever breathed stood close enough to touch. She didn't run. Running in a place where time moved sideways struck her as a poor strategy. An hour inside could be minutes or days outside, she'd read that in one of the mouldering journals Eva had dug up from the UCL archives, and the author had underlined "days" three times in frantic red pencil. Running meant panic, and panic meant mistakes, and mistakes in a place like this meant losing track of which direction the standing stones lay. Losing track of the way out. Rory pulled her phone from her pocket. Eleven per cent. She opened the torch, swept it in a wide arc. The beam cut through the air for about three metres, then stopped. Not faded. Stopped. The light hit an invisible wall and piled up against it like water against glass, illuminating nothing beyond. The darkness past that point had texture. Depth. Layers. It folded in on itself the way fabric does when something moves beneath it, and Rory watched one of those folds ripple outward from a point directly in front of her. She lowered the phone. "I got your note." The flowers leaned closer. "I brought what you wanted me to bring." The breathing started again, but from behind her now. The same bubbling, multi-chambered draw of air, and this time it didn't stop after five seconds. It continued, a single endless inhalation that went on and on, as though whatever produced it possessed lungs the size of weather systems. The ground trembled. The petals shook. Rory placed her hand over the pendant again. The Heartstone had resumed pulsing, faster than before, its rhythm climbing towards something frenetic. The heat against her chest bordered on painful. "I came for answers," she said. "That was the deal." The inhalation stopped. In the silence, something shifted at the edge of the grove. One of the standing stones, the tallest, the one to her left with the split running down its centre like an old wound, she could have sworn it stood two metres farther away when she arrived. Now its shadow fell across her feet. She hadn't moved. The stone had. Or something standing behind the stone had pushed it. A voice came then. Not from any direction. From the ground, from the air, from the flowers, from the resonant hum of the pendant against her ribs. Not words. Not yet. Syllables in a pattern she recognised as language without understanding a single sound. Vowels that bent in the middle. Consonants that arrived before they started. The voice spoke for perhaps ten seconds, each syllable landing in her chest like a struck bell, and when it finished, the flowers released their scent all at once, a smell like honey and copper and something underneath both that made her stomach clench. Then the pendant cracked. A hairline fracture, visible through her jacket as a seam of white light splitting the crimson glow. The heat surged past painful and into searing, and Rory gasped, grabbed the chain, yanked it free from her collar. The Heartstone dangled before her, cracked down its centre, bleeding white light into the dark, and in that light she saw the ground of the clearing for what it actually was. Not earth. Not soil. Skin. The depression in the centre of the grove was a navel. The flowers grew from pores. The roots of the standing stones plunged into flesh, not dirt, and the flesh pulsed with the same rhythm as the pendant, the same rhythm she'd mistaken for her own heartbeat since the moment she stepped between the stones. The entire clearing, twenty metres across, was alive. Was breathing. Had always been breathing, and she'd been standing on its surface like a flea on a sleeping dog, and now the dog was waking up. The ground beneath her right foot shifted. Rose half an inch. Settled. "Answers first," Rory said. The standing stones began to close.
created_at"2026-02-19T12:26:16.97Z" 2/19/2026, 12:26:16 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1450
moderation_latency244
generation_time60786
tokens_prompt4560
tokens_completion2515
native_tokens_prompt4641
native_tokens_completion2299
native_tokens_completion_images(null)
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"
usage0.08068
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"4592138e-b7fe-48db-aaad-4dc6e0ed49d0"
is_byokfalse
latency1450
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771503976-KYbzzp6IhcQxVMy35pDn"
upstream_id"4592138e-b7fe-48db-aaad-4dc6e0ed49d0"
total_cost0.08068
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
94.03% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1676
totalAiIsmAdverbs2
found
0
adverb"really"
count1
1
adverb"slightly"
count1
highlights
0"really"
1"slightly"
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)
46.30% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1676
totalAiIsms18
found
0
word"warmth"
count2
1
word"pulse"
count2
2
word"throbbed"
count1
3
word"could feel"
count2
4
word"chill"
count1
5
word"silk"
count1
6
word"pulsed"
count2
7
word"silence"
count3
8
word"resonance"
count1
9
word"trembled"
count1
10
word"stomach"
count1
11
word"searing"
count1
highlights
0"warmth"
1"pulse"
2"throbbed"
3"could feel"
4"chill"
5"silk"
6"pulsed"
7"silence"
8"resonance"
9"trembled"
10"stomach"
11"searing"
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
narrationSentences163
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences163
filterMatches(empty)
hedgeMatches
0"started to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences167
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1671
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions30
wordCount1635
uniqueNames13
maxNameDensity0.8
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Heartstone5
Fae1
Grove1
February1
Richmond2
Park1
Silas1
Camden1
Passage1
Rory13
Mesopotamian1
Absorbed1
Eva1
persons
0"Heartstone"
1"Grove"
2"Silas"
3"Passage"
4"Rory"
5"Eva"
places
0"Fae"
1"Richmond"
2"Park"
3"Camden"
globalScore1
windowScore1
96.81% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount2
matches
0"looked like columns of bruised flesh"
1"sounded like too many passages at once"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1671
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences167
matches
0"urgency that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean32.76
std33.06
cv1.009
sampleLengths
06
181
211
396
46
54
670
78
885
96
1087
1130
1213
1362
149
1574
163
1760
183
1941
203
2178
2210
2329
241
2562
267
2766
287
2985
3020
3173
324
334
344
358
3654
3730
3810
393
4060
419
42100
434
4468
454
461
4790
4812
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences163
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs244
matches
0"Was breathing."
1"was waking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences167
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1641
adjectiveStacks0
stackExamples(empty)
adverbCount56
adverbRatio0.03412553321145643
lyAdverbCount13
lyAdverbRatio0.007921998781230956
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences167
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences167
mean10.01
std9.14
cv0.914
sampleLengths
06
119
25
330
427
511
612
718
87
911
1025
117
122
1314
146
154
162
172
1835
199
202
212
2218
238
243
258
2611
276
2820
294
303
3122
328
336
3420
351
361
3732
383
3930
404
4126
4213
432
4410
4520
467
471
481
4921
61.08% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.41317365269461076
totalSentences167
uniqueOpeners69
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences128
matches
0"Just the soft, bioluminescent shimmer"
1"Just the silence of a"
2"More like the gentle tug"
3"Then something answered."
4"Then it stopped, and the"
5"Then the pendant cracked."
ratio0.047
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences128
matches
0"It hadn't done that since"
1"She ducked beneath a low-hanging"
2"They weren't stones at all,"
3"Their colours looked wrong in"
4"She switched off her phone"
5"She'd expected it, or told"
6"Her breath didn't fog."
7"She checked twice."
8"She'd come because of the"
9"She'd spent four months carrying"
10"It came from her left,"
11"She waited a full minute"
12"She knelt beside it and"
13"It pulled downward, towards the"
14"It stopped pulsing."
15"She felt it more than"
16"It lasted three seconds."
17"Her voice sounded flat"
18"She turned a slow circle."
19"She was certain of it."
ratio0.219
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount92
totalSentences128
matches
0"The pendant burned against her"
1"Rory pressed her palm flat"
2"It hadn't done that since"
3"She ducked beneath a low-hanging"
4"The Fae Grove opened before"
5"They weren't stones at all,"
6"Wildflowers carpeted the ground between"
7"Their colours looked wrong in"
8"She switched off her phone"
9"The flowers still glowed."
10"The sky above the grove"
11"Rory stepped between two of"
12"The air changed."
13"She'd expected it, or told"
14"The temperature dropped, but not"
15"This wasn't wind chill or"
16"The warmth simply ceased to"
17"Her breath didn't fog."
18"She checked twice."
19"The cold was there, she"
ratio0.719
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount4
totalSentences128
matches
0"Now the Heartstone throbbed with"
1"As if the air itself"
2"Now they tilted inward."
3"Now its shadow fell across"
ratio0.031
96.77% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount4
matches
0"But in the sudden dark of Richmond Park at two in the morning, with the nearest streetlamp a fifteen-minute walk behind her, those petals held a faint luminesce…"
1"She felt it more than heard it, a resonance that set her teeth on edge and made the small bones of her inner ear ache."
2"A wheeze and a whistle and something wet underneath both, like lungs that had spent too long submerged."
3"It continued, a single endless inhalation that went on and on, as though whatever produced it possessed lungs the size of weather systems."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences8
tagDensity0.25
leniency0.5
rawRatio0
effectiveRatio0
96.4998%