Run: 2026-02-19-01KHTXY8XNYGXPW8MN7D62HBF8

Run Details

Duration:
1m 41s
Cost:
$0.008471
Provider:
DeepInfra

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 silver chain burned against my skin, a sudden, biting heat that snapped me out of my stride. I clutched the Heartstone pendant, the crimson gem throbbing in rhythm with a heart that wasn't mine. The air in front of me rippled, heat-haze distortion on a chilly October night, and the familiar tangled brambles of Richmond Park dissolved. Gone. I stood on the edge of the clearing. The Fae Grove. "Brilliant," I muttered, shaking my stinging fingers. "Just brilliant." I hadn't meant to find it. One moment I was cutting across the park to make a delivery to the Richmond estates—Yu-Fei didn't tolerate cold dim sum—and the next, the pendant had dragged me off the path like a dog on a lead. I took a step back, intending to retrace my footprints in the mulch, but the path behind me had vanished. In its place stood a wall of ancient oaks, their trunks so wide they’d need three men holding hands to encircle them. The bark wasn't rough and brown, but pale and smooth, like scar tissue. I turned back to the clearing. It was wrong. The light here was a bruised purple, suspended in a sky that held no moon. The standing stones, jagged monoliths of dark granite, jutted from the earth like broken teeth. The pendant cooled instantly. I checked my watch. The second hand was dead. Stuck at twelve. I tapped the glass, winding the stem. Nothing. Not a tick. "Okay. Think." I’m a delivery girl. I know London. I know the grid, the one-way systems, the shortcuts through alleys that smell of stale wee and bin juice. This place didn't fit. It wasn't a lack of GPS signal; it was a fundamental rejection of physics. The silence pressed against my ears, heavy and suffocating. London never shuts up. You always hear the distant hum of the M25, the siren of a police car three boroughs over, the screech of foxes. Here, the silence was absolute. It felt like being underwater. I walked further into the Grove. My trainers made no sound on the ground. The grass wasn't grass; it was a thick, spongy moss that springed back instantly, erasing my footprints. Wildflowers bloomed in impossible clusters. Hyacinths, bluebells, and roses tangled together, their colours too vivid, glowing with a neon intensity in the twilight. I knelt by a patch of lilies. They looked perfect. Too perfect. I reached out to touch a petal. Snatch. My hand jerked back. A stem had moved. Just a fraction of an inch, coiling away like a snake sensing heat. I stared at the flower. It was still now, bobbing gently in a breeze I couldn't feel. "Right. No touching the flora." I stood up, brushing the knees of my cargos. The Heartstone pulsed again, a weak, irregular flutter against my sternum. It wasn't the warning heat from before, but a terrified flutter. I scanned the perimeter of the clearing. Twelve stones. Twelve monoliths arranged in a rough circle. In the centre of the circle sat a stone table. An altar. I shouldn't go near it. Every instinct screamed at me to turn around, to climb the pale trees, to scream for help until my throat bled. But I'm a Carter. We don't run until we see the whites of their eyes. Or whatever colour eyes these things had. I approached the altar. It was stained black in the centre. Old blood? Or just the nature of the rock? I leaned in closer, the smell of ozone and copper stinging my nose. A sound. Dry leaves shifting. I spun around. "Who's there?" Nothing. Just the swaying of the impossible flowers. I looked down at my feet. The moss was undisturbed. But I had heard it. The distinct sound of a boot heel crushing dry vegetation. "You're hearing things, Rory," I whispered, my voice sounding tinny and small in the vast quiet. "Stress. Lack of sleep. That last breakup was a doozy." I turned back to the altar, but my attention was scattered. My peripheral vision was twitching. Shadows danced at the corners of the standing stones, elongating and shrinking in the span of a blink. I walked around the altar, putting my back to the stone. Better to see them coming. The grove felt larger now. The stones seemed to have drifted further apart. Or was I shrinking? I looked at my hands. They looked normal. Then the temperature plummeted. It wasn't the chill of a windy night. It was the cold of a morgue slab. Frost began to spiderweb across the surface of the altar, creeping toward my fingers. I shoved my hands into my pockets. My left fingers brushed the small crescent scar on my wrist. It ached, a dull, throbbing phantom pain. The sound again. *Crunch.* This time, it came from directly behind me. On the other side of the altar. I vaulted over the stone slab, landing in a crouch on the moss. My heart hammered against my ribs, a frantic drum solo. Nothing. The altar was clear. The frost was gone. The moss was pristine. "Show yourself," I said. My voice didn't waver. Good. A giggle. High-pitched. Childlike. It echoed, bouncing off the stones so I couldn't tell where it originated. I backed away from the altar, moving toward the gap between two of the largest monoliths. "You find this funny?" The giggling stopped. The silence rushed back in, heavier than before. It pressed against my eardrums. I looked at the Heartstone. It was glowing now, a faint, sickly luminescence visible through the fabric of my shirt. It wasn't warm anymore. It was freezing cold, burning me with ice. I reached the gap between the stones. Beyond them, the woods waited. The pale trees with scar-tissue bark. I could leave. I just had to walk between them. I took a step. The gap narrowed. I stopped. I looked left, then right. The stones were definitely moving. Grinding against the earth, slow and deliberate, closing the exit. I sprinted. I threw myself at the narrowing gap. I wedged my shoulder through, scraping my jacket against the granite. The pressure was immense, the stone pushing against me like a hydraulic press. I gritted my teeth and shoved, kicking against the moss. With a grunt of exertion, I popped through to the other side. I rolled onto the ground, gasping for air. I scrambled to my feet and looked back. The gap was gone. The stones formed a seamless, unbroken wall. I was trapped outside the circle now, in the pale woods. At least I was out of the Grove. I turned to navigate the woods. The trees here were taller, their canopies so high up they blocked out the bruised sky completely. It was pitch black, save for the bioluminescent glow of the flowers at my feet. Then I noticed the shadows. They weren't attached to the trees. They weren't cast by the light. They were entities of their own, sliding across the moss, pooling around the trunks. They were gathering. One separated itself from the base of a tree. It was tall, slender, and jagged, like a tear in reality. It had no face, just a smooth, dark surface where features should be. I took a step back, my heel catching on a root. Another shadow detached itself to my left. Then another to my right. I was surrounded. The Heartstone pendant seared my skin, a sudden explosion of heat that made me gasp. It was glowing so bright it lit up the trees, casting long, twisting shadows that reached for me like grasping fingers. The shadow-entities flinched at the light. They recoiled, hissing sounds like steam escaping a valve. I grabbed the pendant, holding it up like a torch. "Back off!" The light pushed them back. I took the opportunity, turning and running into the dark thicket. I didn't know where I was going, but anywhere was better than here. Branches whipped at my face, leaving stinging welts. The air grew colder, breath misting in front of me. I ran until my lungs burned, my trainers slipping on the damp moss. I skidded to a halt. In front of me stood the altar. I hadn't run out. I hadn't moved an inch. I was back in the centre of the circle. The stones leered down at me, silent and immovable. The frost was back, crawling across the ground, inching toward my feet. "No," I breathed. "No, no, no." I spun around, checking the gaps. All gone. Sealed tight. A low growl vibrated through the soles of my shoes. It wasn't coming from the woods. It was coming from beneath the altar. The Heartstone shattered. Not the glass, but the feeling. The warmth vanished, replaced by a void so deep it felt like it was sucking the marrow from my bones. The black stain on the altar began to spread. It bubbled and churned, thick and viscous. It rose up, forming a shape. A head. Shoulders. Claws the length of kitchen knives. The thing pulled itself out of the stone, dripping darkness. It shook itself, and droplets of shadow hit the moss, burning holes in the ground. It turned its faceless head toward me. I backed up until my spine hit the cold granite of a standing stone. The creature took a step. The ground didn't crunch; it shrieked. I reached for the pocket where I kept my phone. My hand trembled, just once. I pulled it out. No signal. Of course. I looked back at the creature. It was tensing its legs, preparing to lunge. I tightened my grip on the phone. It wasn't a weapon, but it was heavy. Solid. The creature sprang.
created_at"2026-02-19T12:28:03.902Z" 2/19/2026, 12:28:03 PM
model"z-ai/glm-4.7-20251222"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5444
moderation_latency(null)
generation_time101113
tokens_prompt4560
tokens_completion4279
native_tokens_prompt4127
native_tokens_completion3909
native_tokens_completion_images(null)
native_tokens_reasoning1859
native_tokens_cached64
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"
usage0.00847107
router(null)
provider_responses
0
endpoint_id"ab79ffa8-8dcc-41c4-9a9f-6cc408135243"
id"chatcmpl-RF9IrRlHjQvpR5rEAkGwY6rj"
is_byokfalse
latency93
model_permaslug"z-ai/glm-4.7-20251222"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771504083-fJ30bBFt5eEsFDYlMuc3"
upstream_id"chatcmpl-RF9IrRlHjQvpR5rEAkGwY6rj"
total_cost0.00847107
cache_discount0.00002048
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.417
leniency0.833
rawRatio0
effectiveRatio0
93.85% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1626
totalAiIsmAdverbs2
found
0
adverb"gently"
count1
1
adverb"completely"
count1
highlights
0"gently"
1"completely"
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)
44.65% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1626
totalAiIsms18
found
0
word"familiar"
count1
1
word"silence"
count3
2
word"intensity"
count1
3
word"perfect"
count2
4
word"pulsed"
count1
5
word"scanned"
count1
6
word"chill"
count1
7
word"pristine"
count1
8
word"echoed"
count1
9
word"navigate"
count1
10
word"vibrated"
count1
11
word"shattered"
count1
12
word"warmth"
count1
13
word"churned"
count1
14
word"trembled"
count1
highlights
0"familiar"
1"silence"
2"intensity"
3"perfect"
4"pulsed"
5"scanned"
6"chill"
7"pristine"
8"echoed"
9"navigate"
10"vibrated"
11"shattered"
12"warmth"
13"churned"
14"trembled"
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
narrationSentences207
matches(empty)
94.55% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount4
hedgeCount3
narrationSentences207
filterMatches
0"watch"
1"know"
2"see"
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)
analyzedSentences214
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1618
ratio0.001
matches
0"Crunch."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions18
wordCount1580
uniqueNames10
maxNameDensity0.32
worstName"Heartstone"
maxWindowNameDensity1
worstWindowName"Richmond"
discoveredNames
Heartstone5
October1
Richmond2
Park1
Fae1
Grove3
Yu1
Fei1
London2
Carter1
persons
0"Fei"
places
0"Richmond"
1"Park"
2"Fae"
3"Grove"
4"Yu"
5"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences120
glossingSentenceCount1
matches
0"felt like it was sucking the marrow fro"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.618
wordCount1618
matches
0"Not the glass, but the feeling"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences214
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs91
mean17.78
std13.34
cv0.75
sampleLengths
058
11
211
39
443
555
639
74
823
92
1044
1145
1231
1335
147
151
1621
1717
1814
1922
2016
2112
2248
2333
242
253
265
278
2825
2926
3034
3116
3225
334
3430
3525
363
371
3815
3923
401
4112
429
432
4415
4516
464
4716
4832
4928
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences207
matches
0"was gone"
1"was gone"
2"was surrounded"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount9
totalVerbs284
matches
0"was twitching"
1"was glowing"
2"were gathering"
3"was glowing"
4"was going"
5"wasn't coming"
6"was coming"
7"was sucking"
8"was tensing"
89.45% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount3
flaggedSentences4
totalSentences214
ratio0.019
matches
0"One moment I was cutting across the park to make a delivery to the Richmond estates—Yu-Fei didn't tolerate cold dim sum—and the next, the pendant had dragged me off the path like a dog on a lead."
1"It wasn't a lack of GPS signal; it was a fundamental rejection of physics."
2"The grass wasn't grass; it was a thick, spongy moss that springed back instantly, erasing my footprints."
3"The ground didn't crunch; it shrieked."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1588
adjectiveStacks0
stackExamples(empty)
adverbCount49
adverbRatio0.030856423173803528
lyAdverbCount8
lyAdverbRatio0.005037783375314861
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences214
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences214
mean7.56
std5.3
cv0.701
sampleLengths
018
117
223
31
48
53
67
72
86
937
1020
1122
1213
136
143
1515
1615
174
184
195
203
217
221
233
242
254
263
2719
284
2914
309
314
3222
335
345
356
368
3717
385
3918
407
413
422
437
441
454
464
4713
485
4912
34.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats34
diversityRatio0.27102803738317754
totalSentences214
uniqueOpeners58
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences181
matches
0"Just a fraction of an"
1"Just the swaying of the"
2"Then the temperature plummeted."
3"At least I was out"
4"Then I noticed the shadows."
5"Then another to my right."
ratio0.033
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount100
totalSentences181
matches
0"I clutched the Heartstone pendant,"
1"I stood on the edge"
2"I muttered, shaking my stinging"
3"I hadn't meant to find"
4"I took a step back,"
5"I turned back to the"
6"It was wrong."
7"I checked my watch."
8"I tapped the glass, winding"
9"I’m a delivery girl."
10"I know London."
11"I know the grid, the"
12"It wasn't a lack of"
13"You always hear the distant"
14"It felt like being underwater."
15"I walked further into the"
16"My trainers made no sound"
17"I knelt by a patch"
18"They looked perfect."
19"I reached out to touch"
ratio0.552
31.82% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount155
totalSentences181
matches
0"The silver chain burned against"
1"I clutched the Heartstone pendant,"
2"The air in front of"
3"I stood on the edge"
4"The Fae Grove."
5"I muttered, shaking my stinging"
6"I hadn't meant to find"
7"I took a step back,"
8"The bark wasn't rough and"
9"I turned back to the"
10"It was wrong."
11"The light here was a"
12"The standing stones, jagged monoliths"
13"The pendant cooled instantly."
14"I checked my watch."
15"The second hand was dead."
16"I tapped the glass, winding"
17"I’m a delivery girl."
18"I know London."
19"I know the grid, the"
ratio0.856
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences181
matches(empty)
ratio0
70.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences59
technicalSentenceCount6
matches
0"The silver chain burned against my skin, a sudden, biting heat that snapped me out of my stride."
1"The light here was a bruised purple, suspended in a sky that held no moon."
2"I know the grid, the one-way systems, the shortcuts through alleys that smell of stale wee and bin juice."
3"The grass wasn't grass; it was a thick, spongy moss that springed back instantly, erasing my footprints."
4"The Heartstone pendant seared my skin, a sudden explosion of heat that made me gasp."
5"It was glowing so bright it lit up the trees, casting long, twisting shadows that reached for me like grasping fingers."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"I whispered, my voice sounding tinny and small in the vast quiet"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"I muttered (mutter)"
1"I whispered (whisper)"
2"I breathed (breathe)"
dialogueSentences12
tagDensity0.333
leniency0.667
rawRatio0.75
effectiveRatio0.5
76.1218%