Run: 2026-02-20-01KHXPG1MQVZDFNTH6XH9HJE52

Run Details

Duration:
55.8s
Cost:
$0.006188
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The silver chain burned cold against Rory’s collarbone as she stepped between the ancient oaks. Their gnarled roots coiled like sleeping serpents in the moonlight, the bark rough beneath her fingertips when she brushed past. She shouldn’t have come alone. Eva’s warning echoed in her skull—*"Some doors shouldn’t be opened, Rory, especially not by half-arsed witches with a pendant and a grudge"*—but the Heartstone had pulsed against her skin all evening, warm as a fresh bruise. It didn’t *glow*, not exactly. More like it *breathed*, slow and rhythmic, as if something inside it had just woken up. She shouldn’t have come alone. The air smelled wrong. Not the damp earth and crushed bracken she expected, but something older, something that clung to the back of her throat like copper and burnt sugar. Her torch beam cut through the dark in a wavering arc, illuminating patches of wildflowers that shouldn’t have been in bloom—foxgloves, their speckled throats gaping, and something else, something with petals the colour of old blood. The grove wasn’t supposed to be like this. Eva’s sketches had shown a quiet clearing, a circle of standing stones, maybe a trickle of water. Not this. Not the way the trees leaned in, their branches knitting together overhead like skeletal fingers. A twig snapped. Rory froze. The sound hadn’t come from her. She’d been standing still, her breath held so tight her lungs ached. Another crack, closer this time, followed by the wet, dragging sound of something moving through undergrowth. Not an animal. Animals didn’t pause mid-step. Animals didn’t hold their breath in unison with hers. “Right,” she muttered, forcing her fingers to unclench from the torch. “You’re being paranoid.” She wasn’t. The Heartstone flared once, sharp and hot, as if in agreement. Rory swallowed hard and adjusted her grip on the torch, sweeping the beam in a slow, deliberate circle. Nothing. Just the trees, the flowers, the— Her stomach dropped. The standing stones weren’t there. Eva’s notes had been explicit: *nine oaks, seven stones, one spring*. But the clearing yawned empty before her, the torchlight revealing only more of those damn flowers, their petals trembling as if something had just brushed past them. Rory’s pulse hammered in her throat. She took a step back, then another, her boots sinking into the damp earth. The air pressed in around her, thick and humid, like the grove itself was exhaling. Then the whispering started. Not words. Not quite. A susurration, like dry leaves skittering across stone, or fingers tracing the edges of a half-remembered tune. It came from everywhere and nowhere, a sound that slithered into her ears and coiled there, vibrating in the bones behind her skull. Rory’s breath hitched. She knew this trick. She’d heard it before, in the flat above Silas’s bar, when the walls had wept black fluid and the voices had slithered out of the plumbing. *Don’t listen. Don’t engage.* Easier said than done when the sound was inside her *head* now. She clamped her hands over her ears, the torch beam wild and erratic. The whispering didn’t stop. If anything, it grew louder, more insistent, the syllables twisting into something almost intelligible. A name, maybe. Or a warning. Rory’s vision blurred at the edges, her chest so tight she thought her ribs might crack. The Heartstone seared against her skin, its glow bleeding through the fabric of her shirt, casting crimson shadows across her wrists. And then— A laugh. High and clear and *wrong*, like a child’s voice played backwards. It echoed through the grove, bouncing between the trees, and Rory’s blood turned to ice. That wasn’t human. That wasn’t *anything* human. The torch slipped in her grip, the beam lurching downward, and for one horrifying second, she saw *them*. Pale hands, too many fingers, curling up from the earth between the flowers. Not breaking the surface. Not quite. Just… resting there, as if the grove itself had grown them. Rory stumbled back with a choked gasp, her boot catching on a root. She went down hard, her palms slamming into the damp earth, her torch rolling away and flickering out. Darkness. Absolute and suffocating. The whispering stopped. Silence pressed in, so dense it was almost physical, a weight settling over her chest. Rory’s fingers scrambled in the dirt, searching for the torch, the pendant burning like a brand against her sternum. She found the torch, her fingers slipping on the slick metal, and fumbled it back to life. The beam flared, illuminating the grove again— The hands were gone. No. Not gone. *Waiting*. Rory’s breath came in ragged bursts, her heart a frantic drumbeat. The flowers were closer now. She could’ve sworn they were closer. Their petals trembled, not from any breeze—there *was* no breeze—but as if something had just passed through them. As if something was *circling*. The Heartstone pulsed once, twice, a frantic Morse code against her skin. Rory’s fingers flew to her neck, clutching the pendant through her shirt. It was hot. Too hot. Like holding a coal. She yanked it free, the silver chain snapping, and held it up to the torchlight. The crimson gem was *bleeding*. Not glowing. Not shining. *Bleeding*. Thin rivulets of dark red oozed from its surface, dripping onto her fingers, sizzling where they touched her skin. Rory’s stomach lurched. She wiped the pendant against her jeans, but the blood—if that’s what it was—kept coming, thick and slow, like it was being pushed out from inside the stone. A sound cut through the silence. A wet, tearing noise, like fabric being ripped. Rory’s head snapped up. Something moved at the edge of the torchlight. A shape, tall and slender, its limbs too long, too *jointed*, bending in ways that made her eyes ache. It didn’t step forward. It didn’t need to. The torchlight caught the curve of a smile, the glint of teeth that weren’t teeth, and Rory’s breath died in her throat. The thing tilted its head. The movement was wrong. Too smooth. Too *fluid*. Like a spider unfolding its legs. Then it *spoke*. Not in words. Not in any language Rory knew. The sound hit her like a physical force, a vibration that rattled her teeth and made her eyes water. The torch flickered. The grove *shifted*. The trees leaned in closer, their branches twisting, knitting together overhead, sealing her in. The flowers burst open, their petals peeling back to reveal something dark and glistening beneath. Rory scrambled to her feet, her boots slipping in the damp earth. The thing in the darkness didn’t move. It didn’t have to. The grove was moving *for* it, the ground undulating beneath her feet, roots coiling up from the earth like serpents. The Heartstone burned in her palm, its blood dripping faster now, splattering onto the flowers. Where it landed, the petals blackened and curled, withering in seconds. She turned to run. The trees were gone. In their place stood a wall of flesh. Pale and pulsing, veined with something dark and viscous, it stretched up into the darkness, too high to see the top. Rory’s breath came in short, panicked gasps. She spun on her heel, torch beam swinging wildly, but the grove had changed. The clearing was smaller now. The flowers were gone. The standing stones had returned, but they weren’t stone anymore. They were *bone*. Huge and yellowed, carved with symbols that made her eyes ache just to look at them. And the thing was still there. Closer now. Close enough that she could see the way its limbs bent, the way its skin—if that’s what it was—rippled like oil on water. Close enough to see the *hands* sprouting from its back, too many of them, twitching and flexing. It didn’t have a face. Not really. Just a smooth expanse of pale flesh, a vertical slit where a mouth should’ve been. The slit opened. Rory didn’t wait to see what came out. She lunged for the nearest bone-stone, her fingers scrambling for purchase. The surface was slick with something wet, something that stank of iron and spoiled meat. The Heartstone flared in her palm, its heat searing, and the thing in the grove *screamed*. The sound was a physical force, a blade of noise that sliced through her skull. Rory gritted her teeth, pressing her forehead against the bone, and *pushed*. The world *ripped*. Not like tearing paper. Not like breaking glass. Like peeling back skin from a wound. The air split open, a jagged line of nothingness appearing between the bone-stones, and Rory didn’t think. She *moved*. She hurled herself through the gap, the edges of it searing her skin, burning through her clothes. She landed hard on something solid, the impact knocking the breath from her lungs. Silence. Cold, blessed silence. Rory rolled onto her back, gasping, her fingers clawing at the earth beneath her. It was *earth*. Dirt. Grass. The faint, distant hum of traffic. She blinked up at the sky—*sky*, actual sky, not the suffocating canopy of the grove—and her vision swam. The Heartstone lay beside her, its glow faded to a dull, sickly pulse. The blood had stopped. For now. Rory’s hands shook as she scooped it up, the silver chain broken, the gemstone cool against her palm. She clutched it to her chest, her breath coming in ragged bursts. She was out. She was *out*. But the grove wasn’t done with her. She could feel it in the way the air still hummed against her skin, in the way the Heartstone twitched in her grip, like a dying thing giving one last shudder. And then she saw the flowers. A single foxglove, its petals the colour of old blood, pushing up through a crack in the pavement beside her hand.
created_at"2026-02-20T14:15:40.978Z" 2/20/2026, 2:15:40 PM
model"mistralai/mistral-medium-3.1" 3/1/2001, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency597
moderation_latency(null)
generation_time55718
tokens_prompt4560
tokens_completion2534
native_tokens_prompt4211
native_tokens_completion2252
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"
usage0.0061884
router(null)
provider_responses
0
endpoint_id"13c5002b-8c5b-490c-8a5f-52ec0242804f"
id"caaebbe997d34290958e41b445e3925f"
is_byokfalse
latency597
model_permaslug"mistralai/mistral-medium-3.1" 3/1/2001, 12:00:00 AM
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771596940-3qTAWZRKrUxp1xPkIsWs"
upstream_id"caaebbe997d34290958e41b445e3925f"
total_cost0.0061884
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences3
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
96.94% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1634
totalAiIsmAdverbs1
found
0
adverb"really"
count1
highlights
0"really"
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)
23.50% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1634
totalAiIsms25
found
0
word"echoed"
count2
1
word"pulsed"
count2
2
word"rhythmic"
count1
3
word"wavering"
count1
4
word"stomach"
count2
5
word"pulse"
count2
6
word"tracing"
count1
7
word"lurching"
count1
8
word"silence"
count4
9
word"weight"
count1
10
word"trembled"
count1
11
word"lurched"
count1
12
word"glint"
count1
13
word"flickered"
count1
14
word"glistening"
count1
15
word"searing"
count2
16
word"could feel"
count1
highlights
0"echoed"
1"pulsed"
2"rhythmic"
3"wavering"
4"stomach"
5"pulse"
6"tracing"
7"lurching"
8"silence"
9"weight"
10"trembled"
11"lurched"
12"glint"
13"flickered"
14"glistening"
15"searing"
16"could feel"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences175
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences175
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences176
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans28
markdownWords52
totalWords1621
ratio0.032
matches
0"\"Some doors shouldn’t be opened, Rory, especially not by half-arsed witches with a pendant and a grudge\""
1"glow"
2"breathed"
3"nine oaks, seven stones, one spring"
4"Don’t listen. Don’t engage."
5"head"
6"wrong"
7"anything"
8"them"
9"Waiting"
10"was"
11"circling"
12"bleeding"
13"Bleeding"
14"jointed"
15"fluid"
16"spoke"
17"shifted"
18"for"
19"bone"
20"hands"
21"screamed"
22"pushed"
23"ripped"
24"moved"
25"earth"
26"sky"
27"out"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
78.88% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount1617
uniqueNames7
maxNameDensity1.42
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Rory23
Heartstone8
Silas1
Easier1
Morse1
Eva3
Like3
persons
0"Rory"
1"Heartstone"
2"Silas"
3"Easier"
4"Eva"
5"Like"
places(empty)
globalScore0.789
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.617
wordCount1621
matches
0"Not the damp earth and crushed bracken she expected, but something older, something"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences176
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean31.17
std31.8
cv1.02
sampleLengths
097
15
2108
33
452
514
62
736
83
95
1073
114
1281
1312
1474
152
162
1751
1861
194
203
2158
224
234
2445
2548
265
2755
2814
294
3057
3119
323
3363
3469
354
364
3788
386
3964
403
418
4269
433
4465
451
463
4760
482
4974
93.23% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences175
matches
0"were gone"
1"was—kept"
2"being pushed"
3"being ripped"
4"were gone"
5"were gone"
6"was—rippled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs278
matches
0"was exhaling"
1"was *circling"
2"was *bleeding"
3"was moving"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount14
semicolonCount0
flaggedSentences9
totalSentences176
ratio0.051
matches
0"Eva’s warning echoed in her skull—*\"Some doors shouldn’t be opened, Rory, especially not by half-arsed witches with a pendant and a grudge\"*—but the Heartstone had pulsed against her skin all evening, warm as a fresh bruise."
1"Her torch beam cut through the dark in a wavering arc, illuminating patches of wildflowers that shouldn’t have been in bloom—foxgloves, their speckled throats gaping, and something else, something with petals the colour of old blood."
2"Just the trees, the flowers, the—"
3"And then—"
4"The beam flared, illuminating the grove again—"
5"Their petals trembled, not from any breeze—there *was* no breeze—but as if something had just passed through them."
6"She wiped the pendant against her jeans, but the blood—if that’s what it was—kept coming, thick and slow, like it was being pushed out from inside the stone."
7"Close enough that she could see the way its limbs bent, the way its skin—if that’s what it was—rippled like oil on water."
8"She blinked up at the sky—*sky*, actual sky, not the suffocating canopy of the grove—and her vision swam."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1630
adjectiveStacks0
stackExamples(empty)
adverbCount62
adverbRatio0.03803680981595092
lyAdverbCount6
lyAdverbRatio0.0036809815950920245
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences176
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences176
mean9.21
std7.47
cv0.811
sampleLengths
015
120
25
336
45
516
65
74
826
936
108
1117
122
1315
143
152
166
1712
1816
193
204
219
2211
233
242
2511
2618
271
286
293
305
3111
3227
336
3414
3515
364
372
382
3917
4023
413
424
4326
442
452
4612
4713
484
4914
32.39% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats31
diversityRatio0.2727272727272727
totalSentences176
uniqueOpeners48
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences146
matches
0"More like it *breathed*, slow"
1"Just the trees, the flowers,"
2"Then the whispering started."
3"Then it *spoke*."
4"Just a smooth expanse of"
ratio0.034
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences146
matches
0"Their gnarled roots coiled like"
1"She shouldn’t have come alone."
2"It didn’t *glow*, not exactly."
3"She shouldn’t have come alone."
4"Her torch beam cut through"
5"She’d been standing still, her"
6"she muttered, forcing her fingers"
7"Her stomach dropped."
8"She took a step back,"
9"It came from everywhere and"
10"She knew this trick."
11"She’d heard it before, in"
12"She clamped her hands over"
13"It echoed through the grove,"
14"She went down hard, her"
15"She found the torch, her"
16"She could’ve sworn they were"
17"Their petals trembled, not from"
18"It was hot."
19"She yanked it free, the"
ratio0.253
86.71% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences146
matches
0"The silver chain burned cold"
1"Their gnarled roots coiled like"
2"She shouldn’t have come alone."
3"Eva’s warning echoed in her"
4"It didn’t *glow*, not exactly."
5"She shouldn’t have come alone."
6"The air smelled wrong."
7"Her torch beam cut through"
8"The grove wasn’t supposed to"
9"Eva’s sketches had shown a"
10"A twig snapped."
11"The sound hadn’t come from"
12"She’d been standing still, her"
13"Another crack, closer this time,"
14"Animals didn’t pause mid-step."
15"Animals didn’t hold their breath"
16"she muttered, forcing her fingers"
17"The Heartstone flared once, sharp"
18"Rory swallowed hard and adjusted"
19"Her stomach dropped."
ratio0.747
68.49% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences146
matches
0"If anything, it grew louder,"
1"As if something was *circling*."
ratio0.014
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount16
matches
0"More like it *breathed*, slow and rhythmic, as if something inside it had just woken up."
1"Not the damp earth and crushed bracken she expected, but something older, something that clung to the back of her throat like copper and burnt sugar."
2"Her torch beam cut through the dark in a wavering arc, illuminating patches of wildflowers that shouldn’t have been in bloom—foxgloves, their speckled throats g…"
3"The Heartstone flared once, sharp and hot, as if in agreement."
4"But the clearing yawned empty before her, the torchlight revealing only more of those damn flowers, their petals trembling as if something had just brushed past…"
5"It came from everywhere and nowhere, a sound that slithered into her ears and coiled there, vibrating in the bones behind her skull."
6"The Heartstone seared against her skin, its glow bleeding through the fabric of her shirt, casting crimson shadows across her wrists."
7"She went down hard, her palms slamming into the damp earth, her torch rolling away and flickering out."
8"Thin rivulets of dark red oozed from its surface, dripping onto her fingers, sizzling where they touched her skin."
9"A shape, tall and slender, its limbs too long, too *jointed*, bending in ways that made her eyes ache."
10"The torchlight caught the curve of a smile, the glint of teeth that weren’t teeth, and Rory’s breath died in her throat."
11"The sound hit her like a physical force, a vibration that rattled her teeth and made her eyes water."
12"The trees leaned in closer, their branches twisting, knitting together overhead, sealing her in."
13"The Heartstone burned in her palm, its blood dripping faster now, splattering onto the flowers."
14"She hurled herself through the gap, the edges of it searing her skin, burning through her clothes."
15"Rory rolled onto her back, gasping, her fingers clawing at the earth beneath her."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences3
tagDensity0.333
leniency0.667
rawRatio1
effectiveRatio0.667
82.6715%