Run: 2026-02-19-01KHTY9FT2KXNDX93ZV034K22T

Run Details

Duration:
44.1s
Cost:
$0.007486
Provider:
Alibaba

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 bit into Rory's neck as she stumbled, her boot catching on a root that hadn't been there a second ago. She righted herself, breath hitching in her throat, and scanned the treeline. The air tasted wrong. Not the damp, earthy rot of Richmond Park after rain, but something cloying and sweet, like overripe plums left to ferment in a sealed jar. She clamped a hand over the Heartstone pendant resting against her collarbone. The crimson gem burned cold, a sharp contrast to the feverish heat radiating from her skin. It pulsed now, a rhythmic thumping against her palm that matched the erratic drumming of her own heart. The device had led her here, to this specific cluster of ancient oaks, claiming a Hel portal lay dormant within the circle. The benefactor who slipped it into her delivery bag had offered no warning about the silence. Normal night sounds had vanished. No rustle of foxes in the underbrush, no distant hum of traffic from the A307, no hoot of an owl. Just that heavy, suffocating quiet, broken only by the crunch of her own footsteps on moss that felt too soft, too spongy, like walking on cured flesh. Rory forced her legs to move. She needed to find the standing stones. The codex entry in her mind, scraps of lore Eva had forced her to memorise during those panic-fuelled nights in London, insisted the boundary marked the safe zone. If she crossed the stones without the pendant active, the time dilation could trap her for years while minutes passed outside. Or vice versa. She checked her watch. The hands spun counter-clockwise, a blurred whirl of metal. Useless. She pushed through a curtain of ivy that seemed to grasp at her sleeves, the leaves slick with a viscous sap that smelled of copper. Beyond the зелё wall, the clearing opened up. The Fae Grove. Wildflowers carpeted the ground, vibrant splashes of violet, gold, and blood-red that glowed with their own inner light despite the absence of moonlight. They bloomed in chaotic profusion, ignoring the season, ignoring logic. In the centre stood the oaks. Ancient, twisted giants with bark that looked like flayed muscle, their branches weaving together to form a cage against a sky that lacked stars. Rory stepped onto the flowerbed. The blooms did not crush under her weight. They bent, then snapped back upright, watching her. She froze. Flowers did not watch. The Heartstone flared, the crimson light casting long, dancing shadows that stretched toward the stones rather than away from the light source. The warmth intensified, searing her chest through her jacket. A Hel portal had to be near. A twig snapped behind her. Rory spun around, fists clenched, ready to swing at a mugger, a dog, anything human or animal. The path she had cut through the ivy stood seamless. No gap. No disturbance. The vines had knitted themselves back together, leaving no trace of her passage. Panic, cold and sharp, prickled at the base of her skull. She backed away from the ivy wall, her eyes darting between the impenetrable green and the watching flowers. "Show yourself," she called out. Her voice sounded flat, swallowed instantly by the thick air. It lacked an echo. Silence answered. Then, a sound drifted from the direction of the standing stones. A wet, slapping noise. Like bare feet hitting mud. Rory turned toward the oaks. Three figures stood between the trunks, their backs to her. They wore clothes she recognised. A tattered delivery jacket, yellow and stained. A university hoodie, grey and frayed at the cuffs. A barrister's suit, dark and impeccably tailored. Her stomach lurched. The yellow jacket matched the one she wore for the Golden Empress. The hoodie belonged to Eva. The suit was her father's favourite, the one he wore to court before the stress made his hands shake too much to hold a pen. The figures did not move. They stood perfectly still, shoulders slumped in identical poses of exhaustion. "Ev?" Rory whispered. The figure in the hoodie twitched. Its head rotated. Not a turn, but a rotation, the neck twisting far past the point where bone should snap, until the face looked back over its own shoulder. It was not Eva. The face was a smooth expanse of pale bark, featureless save for two deep knots that served as eyes. Wood grain rippled across where a mouth should be. The figure in the suit turned next. Same bark face. Same knot eyes. The delivery jacket figure followed suit, the movement jerky, unnatural, as if pulled by invisible strings. Rory backed away, her heel catching on a hidden root. She fell hard, the impact jarring her teeth. The Heartstone screamed against her skin, hot enough to blister. The three figures began to walk toward her. Their gait was wrong. Too fluid. Their legs bent at odd angles, knees popping backwards with every step. The wet slapping sound grew louder, rhythmic and relentless. Slap. Drag. Slap. Drag. Rory scrambled to her feet, abandoning dignity for speed. She bolted toward the far side of the clearing, aiming for a gap between two of the massive oaks. If she could reach the other side, maybe the boundary rules would shift. Maybe she could break the line of sight. Branches lashed out as she ran, whipping her cheeks, tearing at her hair. They felt deliberate. Aimed. One thick limb swept low, tripping her again. She hit the ground, rolling to absorb the impact, and came up spitting dirt and petals. The figures had not hurried. They had not run. Yet they stood only ten yards away, closing the distance with terrifying efficiency. The smell of them hit her now, cutting through the floral sweetness. Rotting wood. Stagnant water. Old blood. "Not real," she muttered, forcing her brain to engage, to find the logic. "Hallucination. Spores. Gas." The thing wearing her father's suit raised a hand. The fingers elongated, stretching into sharp, wooden splinters. It pointed at her wrist. Rory looked down. The crescent-shaped scar on her left wrist, the one from the bicycle accident when she was seven, throbbed in time with the Heartstone. The skin around it turned grey, the colour spreading like ink in water. The barrier between her and the Grove was thinning. The pocket realm was digesting her. She yanked the pendant free from her jacket, holding it out like a weapon. The crimson glow intensified, bathing the clearing in a bloody haze. "Back off!" she shouted. The wooden faces did not react. The thing in the Eva-hoodie opened its mouth. The bark split with a sickening crack, revealing not teeth or tongue, but a hollow cavity filled with swirling grey mist. A voice emanated from the fog, a chorus of whispers that layered over one another, sounding like her mother, her father, Evan, herself. *Stay, Rory. It's warm here. No more running. No more Evan. No more deliveries.* The voice knew her fears. It knew the name she hated most. Rory tightened her grip on the chain. The metal bit into her palm, drawing blood. She needed a plan. Fighting was suicide. Running led nowhere; the exit had sealed itself. She needed to disrupt the connection. The pendant reacted to Hel portals. If she could overload it, maybe she could tear a hole in their reality instead of letting them pull her into theirs. She scanned the ground, looking for anything heavy, anything metallic. Nothing but flowers and soft earth. The figures took another step. The grey spread past her wrist, creeping up her forearm. Numbness followed the discolouration. She tried to flex her fingers. They responded sluggishly, stiffening like drying clay. *We are family,* the chorus whispered. The thing in the suit tilted its head, the motion bird-like and jagged. *Join the grove. Become eternal.* Rory gritted her teeth against the creeping paralysis. She remembered the lore Eva had drilled into her. Time moves differently here. An hour inside is minutes outside. Or days. Or years. If she stayed, she would age into dust while London blinked. She looked at the Heartstone. It pulsed faster, the light strobing now. It wanted to open a door. She just needed to give it enough energy. She bit down on her own lip, hard. Copper flooded her mouth. She spat the blood onto the gem. The reaction was instantaneous. The crimson light exploded outward, blinding and white-hot. The air shrieked, a high-pitched wail that vibrated in her bones. The flowers wilted instantly, turning to black ash that swirled in the sudden updraft. The wooden figures halted, their forms shuddering. Cracks appeared in their bark faces, glowing with the same red light as the pendant. *No,* the chorus screamed, the harmony shattering into discordant noise. *You cannot leave. The debt is unpaid.* Rory stood her ground, holding the burning stone high. The numbness in her arm receded, pushed back by the heat radiating from the artifact. The grey skin peeled away like dead sunburn, revealing pink, living flesh beneath. "I don't owe you anything," she snarled, her voice steady despite the terror clawing at her gut. The ground beneath her feet began to buckle. The standing stones groaned, shifting in their sockets as the pocket dimension destabilised. The sky above fractured, shards of darkness falling like rain. Through the cracks, she saw glimpses of the real world. Streetlights. Rain-slicked pavement. A passing bus. The thing in the delivery jacket lunged, its wooden fingers extending into long spears aimed at her throat. Rory swung the pendant like a flail, the chain whipping through the air. The gem struck the creature's chest. Wood shattered. Splinters flew. The figure collapsed into a pile of dry twigs and rotting leaves. The other two hesitated, the cracks in their forms widening, leaking the red light. The earth opened up beneath Rory's feet. Not a gentle sinkhole, but a jagged maw tearing the world apart. She felt the pull of the void, the promise of falling forever. The last standing figure, the one wearing Eva's face-less mask, reached out. Its wooden hand grasped her ankle. The grip was iron-tight, freezing cold. *Take us with you,* it begged, the voice now just Eva's, small and terrified. *Please, Rory. Don't leave us in the dark.* Rory looked down into the eyes that weren't there. For a fraction of a second, hesitation froze her blood. Then the Heartstone flared one final time, a pulse so strong it knocked the wind from her lungs. She kicked out, smashing her boot into the wooden wrist. It snapped with a dry crack. The ground gave way completely. Rory fell.
created_at"2026-02-19T12:34:11.404Z" 2/19/2026, 12:34:11 PM
model"qwen/qwen3.5-plus-20260216"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency885
moderation_latency(null)
generation_time43976
tokens_prompt4560
tokens_completion2714
native_tokens_prompt4405
native_tokens_completion2385
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"
usage0.007486
router(null)
provider_responses
0
endpoint_id"71e0f6c3-7815-4734-92d3-8a04f3b0ca91"
id"chatcmpl-799f8e67-384d-9a83-b9a6-89b4f09d98d1"
is_byokfalse
latency885
model_permaslug"qwen/qwen3.5-plus-20260216"
provider_name"Alibaba"
status200
api_type"completions"
id"gen-1771504451-VEGnU0pYzXIQTO71wm1f"
upstream_id"chatcmpl-799f8e67-384d-9a83-b9a6-89b4f09d98d1"
total_cost0.007486
cache_discount(null)
upstream_inference_cost0
provider_name"Alibaba"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences6
tagDensity0.833
leniency1
rawRatio0
effectiveRatio0
94.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1780
totalAiIsmAdverbs2
found
0
adverb"perfectly"
count1
1
adverb"completely"
count1
highlights
0"perfectly"
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)
32.58% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1780
totalAiIsms24
found
0
word"scanned"
count2
1
word"pulsed"
count2
2
word"rhythmic"
count2
3
word"silence"
count2
4
word"footsteps"
count1
5
word"chaotic"
count1
6
word"weight"
count1
7
word"dancing"
count1
8
word"warmth"
count1
9
word"searing"
count1
10
word"echo"
count1
11
word"stomach"
count1
12
word"lurched"
count1
13
word"throbbed"
count1
14
word"disrupt"
count1
15
word"vibrated"
count1
16
word"fractured"
count1
17
word"shattered"
count1
18
word"maw"
count1
19
word"pulse"
count1
highlights
0"scanned"
1"pulsed"
2"rhythmic"
3"silence"
4"footsteps"
5"chaotic"
6"weight"
7"dancing"
8"warmth"
9"searing"
10"echo"
11"stomach"
12"lurched"
13"throbbed"
14"disrupt"
15"vibrated"
16"fractured"
17"shattered"
18"maw"
19"pulse"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"jaw/fists clenched"
count1
highlights
0"fists clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences200
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences200
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
2"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences201
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans7
markdownWords42
totalWords1771
ratio0.024
matches
0"Stay, Rory. It's warm here. No more running. No more Evan. No more deliveries."
1"We are family,"
2"Join the grove. Become eternal."
3"No,"
4"You cannot leave. The debt is unpaid."
5"Take us with you,"
6"Please, Rory. Don't leave us in the dark."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1756
uniqueNames13
maxNameDensity1.03
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Rory18
Richmond1
Park1
Heartstone6
Hel3
Eva7
London2
Fae1
Grove2
Golden1
Empress1
Eva-hoodie1
Evan2
persons
0"Rory"
1"Heartstone"
2"Eva"
3"Eva-hoodie"
4"Evan"
places
0"Richmond"
1"Park"
2"Hel"
3"London"
4"Fae"
5"Grove"
globalScore0.987
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences129
glossingSentenceCount2
matches
0"ivy that seemed to grasp at her sleeves, the leaves slick with a viscous sap that smelled of copper"
1"looked like flayed muscle, their branches"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords2.259
wordCount1771
matches
0"Not the damp, earthy rot of Richmond Park after rain, but something cloying"
1"Not a turn, but a rotation, the neck twisting far past the point"
2"not teeth or tongue, but a hollow cavity filled with swirling grey mist"
3"Not a gentle sinkhole, but a jagged maw tearing the world apart"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences201
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs60
mean29.52
std18.39
cv0.623
sampleLengths
064
184
252
378
41
536
663
721
86
938
105
1144
1229
1319
1422
1543
1645
1716
183
1935
2032
2129
2228
2335
244
2549
2641
2740
2816
2922
3039
3115
3225
334
3458
3514
3612
3764
3816
3932
4024
4142
4226
4319
4437
4522
4617
4737
4817
4947
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences200
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs308
matches
0"was thinning"
1"was digesting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences201
ratio0.005
matches
0"Running led nowhere; the exit had sealed itself."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1765
adjectiveStacks1
stackExamples
0"revealing pink, living flesh"
adverbCount41
adverbRatio0.02322946175637394
lyAdverbCount10
lyAdverbRatio0.0056657223796034
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences201
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences201
mean8.81
std6.2
cv0.703
sampleLengths
023
112
24
325
412
516
618
722
816
95
1020
1127
126
137
1428
1521
163
174
189
191
2025
218
223
2323
2410
256
2624
275
288
298
302
314
3222
339
347
355
3617
3710
382
392
4013
4111
4218
435
4410
454
462
4711
484
495
37.98% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats32
diversityRatio0.32338308457711445
totalSentences201
uniqueOpeners65
76.63% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences174
matches
0"Just that heavy, suffocating quiet,"
1"Then, a sound drifted from"
2"Maybe she could break the"
3"Then the Heartstone flared one"
ratio0.023
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences174
matches
0"She righted herself, breath hitching"
1"She clamped a hand over"
2"It pulsed now, a rhythmic"
3"She needed to find the"
4"She checked her watch."
5"She pushed through a curtain"
6"They bloomed in chaotic profusion,"
7"They bent, then snapped back"
8"She backed away from the"
9"she called out"
10"Her voice sounded flat, swallowed"
11"It lacked an echo."
12"They wore clothes she recognised."
13"Her stomach lurched."
14"They stood perfectly still, shoulders"
15"Its head rotated."
16"It was not Eva."
17"She fell hard, the impact"
18"Their gait was wrong."
19"Their legs bent at odd"
ratio0.276
57.70% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount140
totalSentences174
matches
0"The silver chain bit into"
1"She righted herself, breath hitching"
2"The air tasted wrong."
3"She clamped a hand over"
4"The crimson gem burned cold,"
5"It pulsed now, a rhythmic"
6"The device had led her"
7"The benefactor who slipped it"
8"Rory forced her legs to"
9"She needed to find the"
10"The codex entry in her"
11"She checked her watch."
12"The hands spun counter-clockwise, a"
13"She pushed through a curtain"
14"The Fae Grove."
15"Wildflowers carpeted the ground, vibrant"
16"They bloomed in chaotic profusion,"
17"Rory stepped onto the flowerbed."
18"The blooms did not crush"
19"They bent, then snapped back"
ratio0.805
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount4
totalSentences174
matches
0"If she crossed the stones"
1"If she could reach the"
2"If she could overload it,"
3"If she stayed, she would"
ratio0.023
23.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount12
matches
0"It pulsed now, a rhythmic thumping against her palm that matched the erratic drumming of her own heart."
1"The benefactor who slipped it into her delivery bag had offered no warning about the silence."
2"Just that heavy, suffocating quiet, broken only by the crunch of her own footsteps on moss that felt too soft, too spongy, like walking on cured flesh."
3"Ancient, twisted giants with bark that looked like flayed muscle, their branches weaving together to form a cage against a sky that lacked stars."
4"The Heartstone flared, the crimson light casting long, dancing shadows that stretched toward the stones rather than away from the light source."
5"The face was a smooth expanse of pale bark, featureless save for two deep knots that served as eyes."
6"The delivery jacket figure followed suit, the movement jerky, unnatural, as if pulled by invisible strings."
7"Branches lashed out as she ran, whipping her cheeks, tearing at her hair."
8"A voice emanated from the fog, a chorus of whispers that layered over one another, sounding like her mother, her father, Evan, herself."
9"The air shrieked, a high-pitched wail that vibrated in her bones."
10"The flowers wilted instantly, turning to black ash that swirled in the sudden updraft."
11"The other two hesitated, the cracks in their forms widening, leaking the red light."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"she snarled, her voice steady despite the terror clawing at her gut"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount4
fancyTags
0"Rory whispered (whisper)"
1"she muttered (mutter)"
2"she shouted (shout)"
3"she snarled (snarl)"
dialogueSentences6
tagDensity0.667
leniency1
rawRatio1
effectiveRatio1
80.8472%