Run: 2026-02-19-01KHTXZBFNNFF0JBMN6TJ2R1HC

Run Details

Duration:
1m 7s
Cost:
$0.086430
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. Not the gentle warmth Rory had grown accustomed to, that low hum of proximity she'd learned to read like a compass needle. This was different. This was a warning. She pressed through the last barrier of hawthorn and stepped into the Grove. Richmond Park had emptied hours ago. The deer had scattered at dusk, and the joggers and dog walkers had filtered out through the gates like water draining from a bath, leaving the parkland to the foxes and the dark. Rory had climbed the wall near Roehampton Gate, scraping her palms on old brick, and followed the path she'd memorised from Isolde's instructions, the one that wound past the Isabella Plantation and veered left where no trail existed on any map. The standing stones appeared first. Not stone, really, though that's what everyone called them. Ancient oaks, petrified into something harder than granite, their bark fused into smooth grey columns that formed an imperfect ring around a clearing no wider than a tennis court. Wildflowers carpeted the ground between them, poppies and bluebells and things she couldn't name, all blooming together in defiance of season and sense. She'd come for the book. Isolde had been specific about that. A journal, bound in pale leather, left at the base of the northernmost oak. Proof, she'd said, of what had come through last month. Rory needed proof. She needed something solid to carry back to the others, something more convincing than her own instinct and the pendant's erratic pulse. The journal sat exactly where Isolde had described. Pale cover, dark stitching, propped against roots that twisted out of the earth like arthritic fingers. Too easy. Rory crouched and reached for it. Stopped. The pendant flared hot enough to make her flinch, and she pressed her hand flat against her chest to muffle the glow bleeding through her jacket. Crimson light seeped between her fingers. She listened. The Grove had its own soundscape, one she'd learned on previous visits. Wind through canopy, though no wind touched the clearing itself. The creak of wood settling. A distant murmur, like conversation heard through walls, that Isolde attributed to bleed-through from the Fae realm on the other side of the pocket. These sounds were familiar. Rory catalogued them, confirmed them, set them aside. Something else threaded between them now. Breathing. Not hers. She held her breath to confirm. The sound continued, a slow rasp, wet at the edges, positioned somewhere behind the stone to her left. Or her right. The acoustics in the Grove played tricks, sound bouncing off the petrified oaks and folding back on itself in ways that made direction meaningless. Rory picked up the journal. Tucked it inside her jacket, against her ribs, opposite the pendant. She straightened and turned in a slow circle. Nothing moved. The wildflowers stood motionless, unbent by any breeze. The standing stones threw long shadows in the pendant's red glow, shadows that stretched toward the centre of the clearing where she stood. Toward her. She took a step back. Stopped. The shadows hadn't shifted with her movement. They pointed at the spot where she stood now, not where she'd been. "Right," she breathed. "Grand." Three rules she'd set for herself about the Grove. One: never stay longer than twenty minutes; time slipped here, and she'd learned that lesson the hard way after losing an entire Tuesday in March. Two: never speak to anything she couldn't see. Three: if the pendant went from warm to hot, leave. If it went from hot to cold, run. The pendant cooled against her skin. Rory bolted. She made it four strides before the ground changed. Not the texture of it, the wildflowers still crushed soft beneath her trainers, releasing the iron tang of something that wasn't quite pollen. The distance changed. The ring of standing stones had been maybe fifteen metres across when she'd entered. She'd counted her steps on the way in, a habit she'd developed since the Grove had started misbehaving. Fourteen steps from the hawthorn gap to the centre. She was thirty steps out now and the tree line hadn't gotten closer. She stopped running. Panic was a luxury she couldn't afford, and it wouldn't help. She pressed her palm over the pendant. Ice cold. Her breath misted in front of her face, though the October air had been mild when she'd crossed the wall. The breathing sound again. Closer. She could parse it now, not one set of lungs but several, slightly out of sync, a ragged choir exhaling in the dark. "I'm not interested," she said to the clearing. Rule two, broken. She'd deal with that later. "I've got what I came for. I'm leaving." Something laughed. Low, guttural, the sound of it rolling across the wildflowers like fog. Not a human laugh. The cadence sat wrong, the rhythm inverted, as though whatever produced it had heard laughter described but never witnessed it firsthand. Rory turned toward the sound. The nearest standing stone, the one she'd mentally labelled as east based on a compass reading that probably meant nothing here, had changed. A vertical split ran down its centre, hairline-thin, oozing something dark. Sap, she told herself. Petrified oaks don't produce sap, her brain corrected. The split widened by a centimetre. Then another. It looked like a wound trying to become a mouth. She backed away, keeping her eyes on it, and felt her shoulder blade connect with something solid. Another stone. She spun. This one had a split too, wider than the first, and something glistened in its depths. Not sap. Not resin. It caught the pendant's dead crimson glow and reflected it back, and for a fraction of a second Rory saw an eye. Not set in a face. Not attached to anything recognisable. Just an eye, enormous, the iris the colour of spoiled milk, the pupil a horizontal slit like a goat's, watching her from inside the wood with the patient attention of something that had been waiting a long time. The pendant pulsed once, sharp and cold, like a heart stopping. Every stone in the ring split open. Rory didn't look. She'd seen enough. She oriented herself toward where the hawthorn gap should be, where it had to be, and moved, not running this time but walking with the deliberate pace of someone who understood that running in the Grove meant the Grove decided when you stopped. The wildflowers grabbed at her ankles. Not metaphorically. Not in the way tall grass tangles around your feet on a night walk. Stems coiled around her trainers with articulated precision, each one curling independently, tightening in sequence from heel to toe. She kicked free. More replaced them. The iron scent thickened, coating the back of her throat. Twenty metres to the gap. She counted. Fifteen. The hawthorn rustled ahead of her, its thorns catching the last of the pendant's glow. Behind her, something stepped into the clearing. She heard it. One footfall, heavy enough to compress the earth, and then a second that was lighter, placed differently, as though whatever walked had legs of unequal length. The breathing sounds converged on the footsteps, synchronised, became a single wet rasp that she felt as much as heard, a vibration in the soil that travelled up through her shoes and settled in her molars. The hawthorn gap was three steps away. Two. A hand, or something shaped enough like a hand to earn the word, closed around her left wrist. Cold fingers found the crescent scar and pressed into it as though they knew it was there, as though they'd been looking for it specifically. The grip carried the strength of old stone and the texture of bark, rough and grooved and impossibly dry against her skin. Rory didn't pull away. She dropped her weight, pivoted on her right foot, and drove her left elbow back into whatever stood behind her. The impact jarred her entire arm, bone against something dense and unyielding, but the grip loosened for half a second. Half a second was enough. She ripped free and threw herself through the hawthorn. Thorns tore at her jacket, her hair, the backs of her hands. She hit the ground on the other side and rolled, came up in a crouch, and stared back at the gap. The Grove was silent. The standing stones stood whole and unbroken in the darkness, their surfaces smooth, unsplit. The wildflowers swayed in a breeze that touched nothing else. Pretty. Peaceful. A scene from a nature documentary. The pendant warmed against her chest. Gentle again. A compass needle settling. Rory looked down at her left wrist. Five bruises formed a perfect ring around the crescent scar, each one the deep violet of something that should have taken hours to develop. They'd appeared in seconds. She touched one and felt the shape of the fingerprint embossed into her skin, the whorls and ridges of something that had grabbed her and known exactly where to hold. The journal pressed against her ribs, hard-cornered and real. She stood, brushed dead leaves from her knees, and backed away from the hawthorn without turning around. Behind her, across the black expanse of Richmond Park, London hummed. Orange light pollution smeared the southern horizon. Traffic murmured on the A307. Normal sounds. Human sounds. In the Grove, something exhaled. Rory walked faster. Ten paces from the hawthorn, she reached for the pendant and pulled it free of her collar. The crimson gem sat in her palm, thumbnail-sized, its inner glow steady and warm. Safe, it seemed to say. For now. She closed her fist around it and felt the bruises throb in answer, five points of cold that pulsed against the pendant's warmth like a counter-rhythm, like a heartbeat that didn't belong to her. She opened her hand. The pendant's glow had changed. Faint threads of black stitched through the crimson, hairline fractures in the light, there and then gone when she blinked. Rory tucked it back under her collar and pulled out her phone. Three missed calls from a number she didn't recognise. A text from Eva: *where are you its been two days*. She'd been in the Grove for twenty minutes. Her hands shook as she typed a reply. She deleted it. Typed another. Deleted that too. Settled on: *Richmond. Coming home. Don't wait up.* She pocketed the phone and looked back one final time. The hawthorn had closed. Where the gap had been, a wall of thorns stood flush and seamless, as though no opening had ever existed. And hanging from the topmost branch, pale against the dark, something that looked like a strip of her jacket sleeve twisted in a wind she couldn't feel.
created_at"2026-02-19T12:28:39.293Z" 2/19/2026, 12:28:39 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2155
moderation_latency214
generation_time66792
tokens_prompt4560
tokens_completion2730
native_tokens_prompt4641
native_tokens_completion2529
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"
usage0.08643
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"0517d69d-1389-489c-ba2a-6407a7cc9994"
is_byokfalse
latency2154
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771504119-mamJn5lZuAdFcH7SCuS9"
upstream_id"0517d69d-1389-489c-ba2a-6407a7cc9994"
total_cost0.08643
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences4
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
94.42% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1792
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)
66.52% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1792
totalAiIsms12
found
0
word"warmth"
count2
1
word"pulse"
count1
2
word"familiar"
count1
3
word"depths"
count1
4
word"pulsed"
count2
5
word"footfall"
count1
6
word"footsteps"
count1
7
word"weight"
count1
8
word"perfect"
count1
9
word"throb"
count1
highlights
0"warmth"
1"pulse"
2"familiar"
3"depths"
4"pulsed"
5"footfall"
6"footsteps"
7"weight"
8"perfect"
9"throb"
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
narrationSentences175
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences175
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences177
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords13
totalWords1787
ratio0.007
matches
0"where are you its been two days"
1"Richmond. Coming home. Don't wait up."
93.75% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions1
matches
0"Sap, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1774
uniqueNames17
maxNameDensity0.79
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Rory14
Grove10
Park2
Roehampton1
Gate1
Isolde4
Isabella1
Plantation1
Fae1
Three3
Tuesday1
March1
October1
Rule1
Richmond3
London1
Eva1
persons
0"Rory"
1"Gate"
2"Isolde"
3"Three"
4"Eva"
places
0"Park"
1"Roehampton"
2"Isabella"
3"Plantation"
4"Fae"
5"March"
6"Richmond"
7"London"
globalScore1
windowScore1
76.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences102
glossingSentenceCount3
matches
0"quite pollen"
1"looked like a wound trying to become a mo"
2"looked like a strip of her jacket sleeve"
88.08% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.119
wordCount1787
matches
0"not one set of lungs but several, slightly out of sync, a ragged choir exhaling in th"
1"not running this time but walking with the deliberate pace of someone who understood"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences177
matches
0"learned that lesson"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs59
mean30.29
std22.85
cv0.754
sampleLengths
06
129
213
380
466
560
624
72
839
92
1063
116
121
1353
1424
1535
166
1720
184
1960
206
212
2289
2343
2428
2524
262
2737
2859
2910
3063
3148
3211
337
3449
356
3651
3723
387
3965
408
4165
4244
435
4442
4536
4612
4765
4826
4927
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences175
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs314
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences177
ratio0.006
matches
0"One: never stay longer than twenty minutes; time slipped here, and she'd learned that lesson the hard way after losing an entire Tuesday in March."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1779
adjectiveStacks0
stackExamples(empty)
adverbCount47
adverbRatio0.026419336706014616
lyAdverbCount12
lyAdverbRatio0.006745362563237774
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences177
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences177
mean10.1
std8.9
cv0.881
sampleLengths
06
122
23
34
413
56
633
741
85
99
1029
1123
125
136
1414
1510
163
1722
188
1916
202
216
221
2326
246
252
2612
2710
285
2924
304
318
326
331
342
356
3618
373
3824
395
4011
418
422
438
4423
452
465
471
487
4913
61.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.4124293785310734
totalSentences177
uniqueOpeners73
45.98% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences145
matches
0"Just an eye, enormous, the"
1"More replaced them."
ratio0.014
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences145
matches
0"She pressed through the last"
1"She'd come for the book."
2"She needed something solid to"
3"She held her breath to"
4"She straightened and turned in"
5"She took a step back."
6"They pointed at the spot"
7"She made it four strides"
8"She'd counted her steps on"
9"She was thirty steps out"
10"She stopped running."
11"She pressed her palm over"
12"Her breath misted in front"
13"She could parse it now,"
14"she said to the clearing"
15"She'd deal with that later."
16"It looked like a wound"
17"She backed away, keeping her"
18"It caught the pendant's dead"
19"She'd seen enough."
ratio0.241
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount104
totalSentences145
matches
0"The pendant burned against her"
1"This was different."
2"This was a warning."
3"She pressed through the last"
4"Richmond Park had emptied hours"
5"The deer had scattered at"
6"Rory had climbed the wall"
7"The standing stones appeared first."
8"Wildflowers carpeted the ground between"
9"She'd come for the book."
10"Isolde had been specific about"
11"A journal, bound in pale"
12"Proof, she'd said, of what"
13"Rory needed proof."
14"She needed something solid to"
15"The journal sat exactly where"
16"Rory crouched and reached for"
17"The pendant flared hot enough"
18"Crimson light seeped between her"
19"The Grove had its own"
ratio0.717
34.48% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences145
matches
0"If it went from hot"
ratio0.007
37.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences68
technicalSentenceCount10
matches
0"Ancient oaks, petrified into something harder than granite, their bark fused into smooth grey columns that formed an imperfect ring around a clearing no wider t…"
1"Pale cover, dark stitching, propped against roots that twisted out of the earth like arthritic fingers."
2"The acoustics in the Grove played tricks, sound bouncing off the petrified oaks and folding back on itself in ways that made direction meaningless."
3"The standing stones threw long shadows in the pendant's red glow, shadows that stretched toward the centre of the clearing where she stood."
4"Not the texture of it, the wildflowers still crushed soft beneath her trainers, releasing the iron tang of something that wasn't quite pollen."
5"The cadence sat wrong, the rhythm inverted, as though whatever produced it had heard laughter described but never witnessed it firsthand."
6"Just an eye, enormous, the iris the colour of spoiled milk, the pupil a horizontal slit like a goat's, watching her from inside the wood with the patient attent…"
7"She oriented herself toward where the hawthorn gap should be, where it had to be, and moved, not running this time but walking with the deliberate pace of someo…"
8"The breathing sounds converged on the footsteps, synchronised, became a single wet rasp that she felt as much as heard, a vibration in the soil that travelled u…"
9"She closed her fist around it and felt the bruises throb in answer, five points of cold that pulsed against the pendant's warmth like a counter-rhythm, like a h…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"she breathed (breathe)"
dialogueSentences4
tagDensity0.5
leniency1
rawRatio0.5
effectiveRatio0.5
86.6491%