Run: 2026-02-19-01KHTYDTD858BCGS1JV62M7Y2Q

Run Details

Duration:
2m 39s
Cost:
$0.001976
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 smell of wet earth and honeysuckle hit Aurora like a physical shove the moment she crossed the standing stones. She pressed her hand against the cool, rune-etched oak at her back, willing her breathing to slow. Cardiff Uni’s law library felt a million miles away. In her pocket, the Heartstone pendant pulsed against her thigh, a steady, warm thrum like a second, slower heartbeat. “Right,” she muttered to the silent grove. “Just fetch the thing and get out.” Silas, the bar owner from upstairs, had given her a name. *Isolde*. And a description. *A metal box, small, locked, buried where the foxgloves never wilt*. His payment was three weeks’ rent free. The gamble was supposed to be simple: navigate the tricky time-bubble of the Fae Grove, avoid the locals, and retrieve a debt. Not a legal contract, but close enough for her barter-loving landlord. But the Grove was listening. Her boots sank into moss that didn’t crunch but sighed, releasing a puff of silver pollen that hung in the moonless dark. Wildflowers, impossibly vibrant, glowed with their own soft light—foxgloves in purple and white, night-blooming jasmine coiling up the stone pillars. The air tasted of iron and old rain. An hour here could be a minute outside, or a day. Her watch had spun itself into a frenzy ten steps in. She found the spot. A ring of white foxgloves, their bells perfectly still in a breeze that stirred nothing else. The earth at their centre looked freshly turned. She knelt, the damp immediately seeping through her jeans, and started to dig with her hands. The soil was cool, granular, like sugar. Her fingers brushed metal. The box was there, just as described. Tarnished silver, the size of her palm, etched with spirals. She pulled it free, wiping the dirt from its surface. The lock was a simple clasp. She slid her thumb under it. A twig snapped. Not behind her. Not to the side. It came from the ring of standing stones, thirty feet away. A clean, deliberate break. Aurora froze, her hand closing around the box. She didn’t turn her head. She let her gaze drift to the periphery, using the lessons Evan had taught her in all the wrong ways: *Don’t look directly. They sense attention.* Nothing moved between the great oaks. She stood slowly, pocketing the box. The Heartstone’s warmth intensified, a sharp prickle against her skin. It wasn’t a warning of a portal. It was a warning of… something else. She edged back towards the path she’d made, her eyes scanning the flower-lit clearing. The shadows between the stones seemed deeper now, pools of liquid ink. A whisper brushed past her ear. No words. Just a sibilant rush of air, like fabric dragged over stone. She spun. Empty space. Just the foxgloves, nodding gently now as if in a breeze she couldn’t feel. “Isolde?” Her voice sounded too loud, too human in the suffocating quiet. “Silas sent me. For the box.” The only answer was the soft, almost musical drip of moisture from a high branch. *Plink. Plink. Plink.* It had a rhythm. Three fast, one slow. She took another step back. Her heel landed on something soft. Not moss. She looked down. A single, perfect white mushroom had sprouted where her foot had been a second before. Its cap was already unfurling, gills pale in the bioluminescent glow. She shuffled sideways. Another mushroom popped from the ground with a faint, wet *pop*. Then another, a few feet ahead. They were marking her path, a fungal breadcrumb trail leading away from the stones, deeper into the grove. “Clever,” she whispered, a cold slick of fear tightening her throat. This wasn’t a guardian. This was a herding. The Heartstone burned. She fished it out, letting it dangle from its silver chain. The deep crimson gem pulsed with a faint inner light, casting bloody shadows across her palm. It wasn’t glowing towards the standing stones—her exit. It was pulling, insistently, towards the dark heart of the grove. Another sound. A dry rustle, high up. She tilted her head back. The canopy wasn’t right. The branches of the ancient oaks, which had been bare a moment ago, were now thick with what looked like leaves. But as her eyes adjusted, she saw they weren’t leaves at all. They were hundreds of small, folded shapes. Origami figures. Birds, foxes, little human forms, all made from parchment so old it was the colour of bone. They hung motionless from threads of spider-silk. One of them, a paper bird near her head, slowly turned its head to look at her. Aurora stopped breathing. The paper crinkled. The bird’s wing unfolded an inch, then refolded. A soft, dry susurration filled the air as a dozen other figures began to stir. Not with intent, but as if a wind she couldn’t feel was playing through them. Time. The Grove was playing with time. Showing her things that were, or would be, or had never been at all. The mushroom trail at her feet was now a perfect semicircle, corralling her towards a narrow gap between two particularly close stones. Through the gap, she could see a different quality of darkness—a deeper black, starless and complete. The Heartstone tugged so hard the chain bit into her neck. “No,” she said, the word solid in the misty air. “I’m leaving.” She turned on her heel, ignoring the path, and strode straight for the nearest gap in the standing stones that wasn’t the one being offered. The one she’d entered through was gone. The geography had shifted. The stones formed a perfect, unbroken circle around her now. *Plink. Plink. Plink.* The dripping sped up. Two fast, one slow. Something moved at the edge of her vision—a swift, low darting between two foxglove stalks. Too quick for a rabbit. Too silent for a fox. She caught a glimpse of grey fur, a flash of something that might have been a pale, twitching nose. The whispering returned, this time from multiple points around the circle. It formed a word, stretched thin and breathy. “Stay.” Aurora’s mind, the cool, logical engine that had gotten her out of Cardiff and away from Evan, began to race. Trapped circle. Changing environment. Psychological pressure. Herding behaviour. This was an interrogation room, just one made of magic and bad dreams. The key was to break the pattern. Don’t give them what they expected. She stopped trying to find an exit. Instead, she walked straight to the centre of the clearing, to the disturbed patch where she’d dug up the box. She knelt again. “You want a trade?” she said, her voice clear and steady, belying the hammering in her chest. She placed the silver box on the ground in front of her. “A debt for a debt? Fine. Let’s talk terms.” Silence. The rustling in the branches ceased. The mushrooms stopped popping. Then, from the impenetrable blackness beyond the gap the mushrooms had pointed to, a shape resolved. It didn’t walk out. It *unfolded* into the space, like a shadow gaining depth and dimension. It was tall, slender, draped in what looked like tattered grey moss and layered shadows. Its face was long and narrow, features sharp and alien, eyes the colour of tarnished moonlight fixed on her. It didn’t blink. It held out a hand, fingers too long and jointed in too many places. The voice that spoke was the sound of roots cracking stone. “The box is mine. The debt is paid.” “I have it,” Aurora said, not touching it. “But I didn’t agree to your escort service. Let me leave, and you get your property. Try to keep me, and I drop this down the first London sewer I find. Silas can explain to you what a storm drain does to magic.” The creature’s head tilted, a slow, predatory motion. It seemed… amused. “The stone you wear. It does not belong to you.” Aurora’s hand flew to the pendant. It was burning hot now, almost painful. “It was a gift.” “A marker.” The thing took a step forward, and the grove sighed around it. The flowers leaned towards it. “You carry a beacon in the dark. And you walk into the oldest dark of all. Curious.” It knew about the pendant. It knew about Dymas. This changed everything. “I’m leaving now,” Aurora said, her cool-headed façade finally cracking at the edges. She snatched up the box and stood. “The deal was the box for passage. I’m holding up my end.” She turned, choosing a direction at random, and marched towards the wall of oak stones. As she moved, the stones themselves seemed to waver, the spaces between them narrowing like closing jaws. The whispering erupted all around her, a chorus now. “*Stay. See. Belong.*” From every shadowed thicket, pairs of those same moon-coloured eyes opened. Dozens of them. Small, low to the ground. The grey-furred things. They began to slink into the clearing, their movements a syncopated, unsettling creep. The tall figure raised its long-fingered hand. The grove held its breath. “The mortal may pass,” it intoned, its voice final. The slinking creatures froze. “She carries more than she knows. Her path is… watched.” The standing stones before Aurora shivered and parted, revealing the familiar, misty path back to Richmond Park. The normal world, with its boring, linear time, lay just beyond. She didn’t run. She walked, every muscle screaming to bolt, her back a naked target. She could feel those countless eyes on her, the weight of the Grove’s attention like a physical pressure. She stepped between the stones. The transition was instant. The heavy perfume of magic vanished, replaced by the damp, muddy smell of the park at night. The silence broke into the distant hum of London traffic. Her watch ticked once, normally. Aurora stumbled a few paces onto the ordinary grass before daring to look back. The standing stones were just stones again, ancient and moss-covered, arranged in a forgettable pattern most tourists would walk right past. No glowing flowers. No paper birds. But in her hand, the silver box was real. And against her chest, the Heartstone pendant had cooled to a mere whisper of warmth. A beacon, it had said. A marker. She opened her palm. Lying across the silver box, pristine and white, was a single, perfectly folded origami fox. It hadn’t been there a second ago. From the depths of the Grove, now invisible behind the veil, a final whisper chased her out into the London night, so faint she almost thought she’d imagined it. “We will watch.”
created_at"2026-02-19T12:36:33.329Z" 2/19/2026, 12:36:33 PM
model"deepseek/deepseek-v3.2-20251201"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency896
moderation_latency(null)
generation_time158595
tokens_prompt4560
tokens_completion2726
native_tokens_prompt4145
native_tokens_completion2387
native_tokens_completion_images(null)
native_tokens_reasoning0
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"
usage0.00197644
router(null)
provider_responses
0
endpoint_id"f270e10b-1d21-4345-9e4e-662ddb5ba441"
id"chatcmpl-RvUeJrjibwjnoI9iF1MUHBED"
is_byokfalse
latency92
model_permaslug"deepseek/deepseek-v3.2-20251201"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771504593-jynreIUSrhKTSOJFMQ1T"
upstream_id"chatcmpl-RvUeJrjibwjnoI9iF1MUHBED"
total_cost0.00197644
cache_discount0.00000832
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
totalTags9
adverbTagCount1
adverbTags
0"Her voice sounded too [too]"
dialogueSentences23
tagDensity0.391
leniency0.783
rawRatio0.111
effectiveRatio0.087
85.97% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1782
totalAiIsmAdverbs5
found
0
adverb"perfectly"
count2
1
adverb"slowly"
count2
2
adverb"gently"
count1
highlights
0"perfectly"
1"slowly"
2"gently"
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)
27.05% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1782
totalAiIsms26
found
0
word"etched"
count2
1
word"pulsed"
count2
2
word"navigate"
count1
3
word"warmth"
count2
4
word"scanning"
count1
5
word"whisper"
count3
6
word"perfect"
count3
7
word"silk"
count1
8
word"race"
count1
9
word"silence"
count2
10
word"resolved"
count1
11
word"beacon"
count2
12
word"familiar"
count1
13
word"could feel"
count1
14
word"weight"
count1
15
word"pristine"
count1
16
word"depths"
count1
highlights
0"etched"
1"pulsed"
2"navigate"
3"warmth"
4"scanning"
5"whisper"
6"perfect"
7"silk"
8"race"
9"silence"
10"resolved"
11"beacon"
12"familiar"
13"could feel"
14"weight"
15"pristine"
16"depths"
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
narrationSentences185
matches(empty)
88.80% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount5
narrationSentences185
filterMatches
0"watch"
hedgeMatches
0"started to"
1"began to"
2"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences199
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans8
markdownWords29
totalWords1767
ratio0.016
matches
0"Isolde"
1"A metal box, small, locked, buried where the foxgloves never wilt"
2"Don’t look directly. They sense attention."
3"Plink. Plink. Plink."
4"pop"
5"Plink. Plink. Plink."
6"unfolded"
7"Stay. See. Belong."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1609
uniqueNames12
maxNameDensity0.56
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Aurora9
Uni1
Heartstone5
Silas1
Fae1
Grove5
Evan2
Cardiff2
Dymas1
Richmond1
Park1
London2
persons
0"Aurora"
1"Uni"
2"Heartstone"
3"Evan"
places
0"Silas"
1"Fae"
2"Grove"
3"Cardiff"
4"Richmond"
5"Park"
6"London"
globalScore1
windowScore1
81.82% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount3
matches
0"seemed deeper now, pools of liquid ink"
1"looked like leaves"
2"looked like tattered grey moss and layere"
86.81% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.132
wordCount1767
matches
0"Not a legal contract, but close enough for her barter-loving landlord"
1"Not with intent, but as if a wind she couldn’t feel was playing through them"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences199
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs64
mean27.61
std19.5
cv0.706
sampleLengths
065
114
266
35
472
555
639
73
861
96
1056
1121
1216
1318
1426
1516
1664
1719
1849
1912
2070
2117
223
2341
2421
2549
2612
2746
283
298
3044
3119
321
3354
3430
3538
3611
3732
3851
3911
408
4151
4211
4310
4417
4536
4612
4732
4832
499
99.57% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences185
matches
0"was supposed"
1"being offered"
2"was gone"
18.42% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs257
matches
0"was listening"
1"were marking"
2"wasn’t glowing"
3"was pulling"
4"was playing"
5"was playing"
6"was burning"
85.43% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences4
totalSentences199
ratio0.02
matches
0"Wildflowers, impossibly vibrant, glowed with their own soft light—foxgloves in purple and white, night-blooming jasmine coiling up the stone pillars."
1"It wasn’t glowing towards the standing stones—her exit."
2"Through the gap, she could see a different quality of darkness—a deeper black, starless and complete."
3"Something moved at the edge of her vision—a swift, low darting between two foxglove stalks."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount211
adjectiveStacks1
stackExamples
0"cool, rune-etched oak"
adverbCount2
adverbRatio0.009478672985781991
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences199
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences199
mean8.88
std6.36
cv0.717
sampleLengths
020
117
29
319
47
57
611
71
83
911
107
1122
1211
135
1422
1520
168
1711
1811
194
2016
218
2216
237
244
257
2610
2710
286
296
303
313
324
3311
344
358
365
3723
383
396
406
4110
427
435
442
4514
4612
476
482
4911
33.92% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats32
diversityRatio0.2814070351758794
totalSentences199
uniqueOpeners56
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences163
matches
0"Just a sibilant rush of"
1"Just the foxgloves, nodding gently"
2"Then another, a few feet"
3"Too quick for a rabbit."
4"Too silent for a fox."
5"Instead, she walked straight to"
6"Then, from the impenetrable blackness"
ratio0.043
72.76% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount60
totalSentences163
matches
0"She pressed her hand against"
1"she muttered to the silent"
2"His payment was three"
3"Her boots sank into moss"
4"Her watch had spun itself"
5"She found the spot."
6"She knelt, the damp immediately"
7"Her fingers brushed metal."
8"She pulled it free, wiping"
9"She slid her thumb under"
10"It came from the ring"
11"She didn’t turn her head."
12"She let her gaze drift"
13"They sense attention.*"
14"She stood slowly, pocketing the"
15"It wasn’t a warning of"
16"It was a warning of…"
17"She edged back towards the"
18"Her voice sounded too loud,"
19"She took another step back."
ratio0.368
58.16% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount131
totalSentences163
matches
0"The smell of wet earth"
1"She pressed her hand against"
2"Cardiff Uni’s law library felt"
3"she muttered to the silent"
4"Silas, the bar owner from"
5"*A metal box, small, locked,"
6"His payment was three"
7"The gamble was supposed to"
8"Her boots sank into moss"
9"Wildflowers, impossibly vibrant, glowed with"
10"The air tasted of iron"
11"An hour here could be"
12"Her watch had spun itself"
13"She found the spot."
14"A ring of white foxgloves,"
15"The earth at their centre"
16"She knelt, the damp immediately"
17"The soil was cool, granular,"
18"Her fingers brushed metal."
19"The box was there, just"
ratio0.804
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences163
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences70
technicalSentenceCount4
matches
0"Her boots sank into moss that didn’t crunch but sighed, releasing a puff of silver pollen that hung in the moonless dark."
1"She edged back towards the path she’d made, her eyes scanning the flower-lit clearing."
2"She turned on her heel, ignoring the path, and strode straight for the nearest gap in the standing stones that wasn’t the one being offered."
3"She caught a glimpse of grey fur, a flash of something that might have been a pale, twitching nose."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount3
matches
0"Aurora said, not touching it"
1"The thing took, and the grove sighed around it"
2"it intoned, its voice final"
63.04% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount2
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
dialogueSentences23
tagDensity0.261
leniency0.522
rawRatio0.333
effectiveRatio0.174
79.8585%