Run: 2026-02-19-01KHTYE87K0CXZ347HW828PN19

Run Details

Duration:
8.4s
Cost:
$0.001088
Provider:
Google AI Studio

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 cold, damp earth clung to Aurora’s boots as she pushed aside the low-hanging branches. Every snap of a twig sounded like a gunshot in the oppressive quiet. She’d been told to wait by the ancient oak standing stones, a place she’d only ever seen on faded maps tucked away in dusty archives. Now, the gnarled, moss-covered trunks loomed like skeletal guardians, their branches twisted against the bruised indigo of the night sky. The air here was thick, not just with the scent of decay and damp moss, but with something else, something that prickled the back of her neck and tightened her chest. It was the *Fae Grove*, though no marker announced its name, just the silent, watchful presence of these hulking stones. Her hand instinctively went to the Heartstone Pendant nestled beneath her shirt. Its familiar warmth, usually a comforting presence against her skin, felt strangely muted, almost reluctant. She’d come here for answers, for a contact who promised to shed light on the whispers surrounding the Hel portals. But the promised rendezvous was now an hour past, and the only company she had were the rustling leaves and the unnerving feeling of being watched. A skittering sound, too deliberate for a mere rodent, drew her gaze to the periphery. Shadows danced, coalescing and dispersing just out of clear sight. It was like trying to catch smoke. She strained her ears, trying to pinpoint the source. Was it merely the wind playing tricks, or was the Fae Grove actively shifting, its ‘protections’ subtly trying to deter her? “Hello?” she called out, her voice a thin reed against the vast silence. It was a pathetic attempt at bravery, and the echo that answered felt more like a mockery. She was Aurora Carter, twenty-five years old, a former law student who now churned out bland deliveries by day. She’d fled London’s grime and her past for a semblance of peace, only to be drawn into this tangled web of forgotten realms and pulsing gateways. The Fae Grove. Isolde’s grove. Richmond grove, the ordinary world knew it, burying its otherworldly secrets beneath a veneer of suburban normalcy. A faint, melodic chime, like distant wind bells, drifted on the air. It was too delicate, too pure to be natural. It seemed to weave through the trees, beckoning, then receding. Rory’s eyes, wide and searching, scanned the dense undergrowth. The wildflowers bordering the clearing, which the lore claimed bloomed year-round, were indeed a vibrant explosion of colour, even in the dim light, their unnatural luminescence casting faint, ethereal highlights on the gnarled roots. It was beautiful, achingly so, and that was the most unsettling part. Nature didn't belong so fiercely alive, so vibrantly out of season, in the heart of autumn. She took a tentative step forward, her boot sinking slightly into the spongy ground. The air grew colder, the earlier prickling sensation escalating into a full-blown anxiety. The feeling of being observed intensified, not just from one direction, but from everywhere at once—the ancient oaks, the vibrant blooms, the very soil beneath her feet. It was a pervasive, unsettling awareness. A rustle, closer this time, drew her attention to a cluster of ferns. Something moved within them, a flicker of white, gone as soon as she’d registered it. Her heart hammered against her ribs. This wasn't just the woods playing tricks. This was… different. The Fae Grove was known for its temporal anomalies, a sliver of existence where time itself bent and stretched. An hour inside could be mere minutes outside, or days. Had she already lost track of time? She found herself walking, almost drawn, towards a denser patch of trees. The chime sounded again, clearer now, and with it, a subtle shift in the very fabric of her surroundings. The shadows seemed to deepen, to pool around her, and the vibrant flowers pulsed with an inner light, like tiny, watchful eyes. Then, a new sound, a soft, rhythmic thudding, like a distant heartbeat, began to pulse beneath the surface of the quiet. It was faint, almost imperceptible, yet it vibrated in her bones. She stopped, breathing shallowly. The thudding grew stronger, more insistent, drawing her closer to a particularly massive oak, its bark scarred and ancient. The air around it felt… agitated, charged. And then she saw it. Tucked within a hollow at the base of the tree, something pulsed with a faint, internal red light. It was small, no bigger than her thumbnail, nestled on a bed of dark moss. The Heartstone Pendant. Her Heartstone Pendant. It was here, nestled in the earth of the Fae Grove, glowing with a faint inner light that mirrored the faint crimson of its gemstone. But it wasn't just resting there. It was *pulsing*, a steady, rhythmic beat that now seemed to be the source of the thudding she’d heard. And as she stared, mesmerised, she noticed something else. Small, faint lines, like root systems, were beginning to spread out from the pendant, sinking into the moss, into the earth. It was anchoring itself. A cold dread washed over her. This was no passive artifact. It was alive. And it was drawing power from this place. The melodic chime returned, closer, more seductive. This time, it seemed to emanate from *within* the hollow, from the pulsing pendant itself. Rory’s hand shot to her own neck, her fingers closing around the familiar silver chain. Her pendant was still there, warm against her skin, but it felt… hollow, depleted. As if its twin here was siphoning its essence. Suddenly, the ferns rustled violently behind her. Not a flicker this time, but a distinct movement. Rory spun around, her breath catching in her throat. The shadows at the edge of her vision coalesced, forming indistinct shapes that shifted and writhed. They were taller than any human, gaunt, and their movements were jerky, unnatural. And as they began to emerge from the deeper darkness, she saw them clearly. Pale, translucent skin stretched taut over bone. Eyes like obsidian chips glinted with malevolent awareness. They weren't solid, not entirely. They seemed to be woven from shadow and moonlight, tendrils of darkness reaching out from their forms. And the melodic chime, she now realised, wasn’t coming from the pendant. It was their voices, a chorus of haunting, dissonant whispers that promised no comfort, only a deep, gnawing hunger. They advanced, slow and deliberate, their forms blurring at the edges. The ground beneath their feet seemed to ripple, the vibrant flowers recoiling as they passed. Rory stumbled backward, her eyes locked on the encroaching figures. Her Heartstone Pendant, the one near her, still pulsed, its crimson glow intensifying, the tendrils reaching out from it now a vibrant scarlet. It wasn’t just a source of power; it was a beacon. And they were coming for it. For her. “No,” she whispered, the word torn from her lungs. The Heartstone against her chest grew painfully hot, a desperate echo of the one buried in the earth. The Fae Grove, so beautiful and dangerous, was not merely a passive observer. It was alive, and it was yielding its secrets, and its dangers, to those who dared to disturb its slumber. The shadows closed in, a silent, terrifying wave, and the only thought that echoed in Rory’s mind was that she had walked right into their lair, armed with nothing but a fading artifact and a foolish hope for answers.
created_at"2026-02-19T12:36:47.482Z" 2/19/2026, 12:36:47 PM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency282
moderation_latency(null)
generation_time8315
tokens_prompt4560
tokens_completion1885
native_tokens_prompt4427
native_tokens_completion1614
native_tokens_completion_images0
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"
usage0.0010883
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency282
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504607-rG3NB06J4v8OPBYlpZNJ"
upstream_id(null)
total_cost0.0010883
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences2
tagDensity1
leniency1
rawRatio0
effectiveRatio0
83.90% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1242
totalAiIsmAdverbs4
found
0
adverb"slightly"
count1
1
adverb"very"
count2
2
adverb"suddenly"
count1
highlights
0"slightly"
1"very"
2"suddenly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1242
totalAiIsms26
found
0
word"oppressive"
count1
1
word"loomed"
count1
2
word"hulking"
count1
3
word"familiar"
count2
4
word"warmth"
count1
5
word"comforting"
count1
6
word"silence"
count1
7
word"echo"
count2
8
word"churned"
count1
9
word"otherworldly"
count1
10
word"normalcy"
count1
11
word"scanned"
count1
12
word"flicker"
count2
13
word"pulsed"
count3
14
word"rhythmic"
count2
15
word"pulse"
count1
16
word"vibrated"
count1
17
word"charged"
count1
18
word"beacon"
count1
19
word"echoed"
count1
highlights
0"oppressive"
1"loomed"
2"hulking"
3"familiar"
4"warmth"
5"comforting"
6"silence"
7"echo"
8"churned"
9"otherworldly"
10"normalcy"
11"scanned"
12"flicker"
13"pulsed"
14"rhythmic"
15"pulse"
16"vibrated"
17"charged"
18"beacon"
19"echoed"
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
narrationSentences96
matches(empty)
23.81% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount8
narrationSentences96
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences96
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords4
totalWords1236
ratio0.003
matches
0"Fae Grove"
1"pulsing"
2"within"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1228
uniqueNames9
maxNameDensity0.49
worstName"Fae"
maxWindowNameDensity1
worstWindowName"Heartstone"
discoveredNames
Aurora2
Heartstone5
Pendant4
Hel1
Fae6
Grove6
Carter1
London1
Rory5
persons
0"Aurora"
1"Carter"
2"Rory"
places
0"Heartstone"
1"Fae"
2"Grove"
3"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences80
glossingSentenceCount1
matches
0"sounded like a gunshot in the oppressive q"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords2.427
wordCount1236
matches
0"not just with the scent of decay and damp moss, but with something else, something"
1"not just from one direction, but from everywhere at once"
2"Not a flicker this time, but a distinct movement"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences96
matches
0"was that she"
57.06% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs16
mean77.25
std27.02
cv0.35
sampleLengths
0124
173
262
397
4102
560
680
785
835
9123
1022
1160
1268
1368
1478
1599
97.95% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences96
matches
0"been told"
1"was known"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs190
matches
0"was *pulsing"
1"were beginning"
2"was anchoring"
3"was drawing"
4"was siphoning"
5"wasn’t coming"
6"were coming"
83.33% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount1
flaggedSentences2
totalSentences96
ratio0.021
matches
0"The feeling of being observed intensified, not just from one direction, but from everywhere at once—the ancient oaks, the vibrant blooms, the very soil beneath her feet."
1"It wasn’t just a source of power; it was a beacon."
70.46% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount255
adjectiveStacks0
stackExamples(empty)
adverbCount17
adverbRatio0.06666666666666667
lyAdverbCount7
lyAdverbRatio0.027450980392156862
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences96
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences96
mean12.88
std7.54
cv0.586
sampleLengths
015
113
225
320
431
520
612
715
820
926
1015
1110
127
139
1421
1513
1617
1719
1826
193
202
2117
2212
239
2410
259
2634
2712
2816
2914
3013
3127
326
3313
3415
356
367
372
381
3919
4010
417
4212
4319
4422
4521
4611
474
4819
495
52.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3645833333333333
totalSentences96
uniqueOpeners35
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences90
matches
0"Then, a new sound, a"
1"Suddenly, the ferns rustled violently"
2"Pale, translucent skin stretched taut"
ratio0.033
60.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences90
matches
0"She’d been told to wait"
1"It was the *Fae Grove*,"
2"Her hand instinctively went to"
3"Its familiar warmth, usually a"
4"She’d come here for answers,"
5"It was like trying to"
6"She strained her ears, trying"
7"she called out, her voice"
8"It was a pathetic attempt"
9"She was Aurora Carter, twenty-five"
10"She’d fled London’s grime and"
11"It was too delicate, too"
12"It seemed to weave through"
13"It was beautiful, achingly so,"
14"She took a tentative step"
15"It was a pervasive, unsettling"
16"Her heart hammered against her"
17"She found herself walking, almost"
18"It was faint, almost imperceptible,"
19"She stopped, breathing shallowly."
ratio0.4
60.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount72
totalSentences90
matches
0"The cold, damp earth clung"
1"Every snap of a twig"
2"She’d been told to wait"
3"The air here was thick,"
4"It was the *Fae Grove*,"
5"Her hand instinctively went to"
6"Its familiar warmth, usually a"
7"She’d come here for answers,"
8"A skittering sound, too deliberate"
9"Shadows danced, coalescing and dispersing"
10"It was like trying to"
11"She strained her ears, trying"
12"she called out, her voice"
13"It was a pathetic attempt"
14"She was Aurora Carter, twenty-five"
15"She’d fled London’s grime and"
16"The Fae Grove."
17"Richmond grove, the ordinary world"
18"A faint, melodic chime, like"
19"It was too delicate, too"
ratio0.8
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences90
matches
0"Now, the gnarled, moss-covered trunks"
1"As if its twin here"
ratio0.022
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences57
technicalSentenceCount2
matches
0"The air here was thick, not just with the scent of decay and damp moss, but with something else, something that prickled the back of her neck and tightened her …"
1"It was here, nestled in the earth of the Fae Grove, glowing with a faint inner light that mirrored the faint crimson of its gemstone."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount2
matches
0"she called out, her voice a thin reed against the vast silence"
1"she whispered, the word torn from her lungs"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"she called out (call out)"
1"she whispered (whisper)"
dialogueSentences2
tagDensity1
leniency1
rawRatio1
effectiveRatio1
72.9647%