Run: 2026-02-20-01KHY970BGAEH91T2RCEW42AD9

Run Details

Duration:
23.2s
Cost:
$0.001170
Provider:
Seed

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 Heartstone Pendant burns through Rory’s palm, its crimson gem flaring hotter than the takeaway soup she’d heated ten minutes ago. She pauses, panting, her boots sinking into moss that ought to be damp but isn’t—*not this time of year*. Her bike leans against the nearest standing stone, its frame casting a jagged shadow that stretches longer than it should, even for late October. Richmond Park’s paths had been empty when she’d left the pub three hours prior. Now, the trees press close, their branches creaking in a wind that doesn’t exist. “Stupid,” she mutters, wiping her palms on her delivery jacket. The pendant pulses again, a steady thrum that matches her heartbeat. Evan’s face flashes in her mind—pale, drunk, *sneering*—but she shoves it away. The Heartstone doesn’t lie. It had started acting up two weeks ago, warming when she walked past certain alleys, then blazing when she found that crumpled note in a drainage ditch: *“The Grove. Hel’s breath smells like rain.”* Eva had sent it, but Rory hadn’t answered. Let Evan believe she was gone. Let the past stay buried. She steps between the stones. The clearing hits her like a wave—sweet, cloying, *alive*—and the pendant screams, glowing so bright she has to squint. Wildflowers bloom here, not the hardy perennials of a London park but irises the color of old blood, poppies that *glow* faintly at their centers. The air hums, a low vibration that tickles the back of her throat. A bird calls, but it’s not a thrush or a rook—too clear, too *sing-song*, like a child hummed off-key. “Bullshit,” she says, though her voice cracks. She unzips her bag, pulls out her phone. Screen goes black. She tries again. Still dark. “Great. Fae tech.” She tucks it away, grabs the Hex wrench from her toolbelt—old habit from fixing bike chains mid-route—and clutches it like a bat. A shadow moves at the edge of her vision. Rory spins. The trees are still. The flowers stand tall. She’s being an idiot. The Heartstone just makes things *feel* off. She came here to find the portal, not to play detective. *Eva*, she thinks, her stomach lurching. Eva had been the one to warn Rory about Evan—Eva, who’d vanished six months ago, leaving only a half-finished journal and a reference to “the Grove” in her notes. *“Hel doesn’t hunt the living. It eats the ones who *escape*.”* The Hex wrench slips. It clatters against the stone, loud enough to echo. The hum in the air drops to a whisper. Rory freezes. Somewhere, far off, a branch snaps. But not like a tree breaking. More like… *bone*. She edges toward the center of the clearing, the pendant now so hot it burns through her glove. The clearing isn’t round. It’s *shaped*, like a claw, with the stones forming the sharp points. At the palm of the claw, a depression in the earth—black, like it’s been eaten away by something. The Heartstone screams, its light bleeding into the depression, as if it’s *drawn* to it. “Okay,” Rory says, swallowing. “Hel portal. Got it. Now where’s the… the *key*?” She’d read the notes: *“The eye of the storm. The blood of the trapped.”* Eva’s handwriting, messy and panicked, scrawled across the page. A flower petals. Not a leaf. A *petal*. Rory kneels. The irises around the depression are fine—no torn leaves, no trampled stems. But one poppy lies on its side, its petals plucked clean, leaving only a stumpy stem. She touches it. The petals are warm, like they’ve been in the sun. Another sound. Closer. Rory stands, Hex wrench raised. *It*—whatever it is—moves through the undergrowth, its path flattening every plant in its way. The flowers bend at the waist, as if bowing, then snap back, their colors draining to gray. The hum returns, louder, and Rory feels it in her bones, a pressure that makes her teeth ache. She backs away, tripping over a root. The pendant slaps her face, and she yelps, hitting the ground. For a second, she sees it: a flash of white, long limbs, a face that isn’t a face, just a void with two pinpricks of red. Then it’s gone. “Eva,” she breathes. The journal. It had mentioned a scar—*crescent-shaped*, on the left wrist. Rory’s hand flies to her wrist. The scar is there, raised, a reminder of the day she’d fallen into a canal at seven, her father hauling her out, yelling about “stupid curiosity.” She’d thought it was a coincidence, but EvaEva had *known* about it. The ground rumbles. Rory scrambles up, the Hex wrench still in her hand. The depression in the earth is *opening*, a black maw that swallows the light. The flowers are gone, burned to ash. The hum is deafening now, and her ears ring. She turns to run, but the trees are *closing in*, their branches weaving together to form a barrier. The air tastes like iron. The pendant detonates. Not with a bang, but with a pulse. Rory is thrown backward, hitting a stone so hard she sees stars. The pressure in her head splits, and she hears voices—hundreds of them, whispering, *laughing*, their words guttural and ancient, like stones grinding together. *“Traitor,”* one says. *“Escaped. Now we eat.”* She fumbles for the pendant, which lies a few feet away, its light dimmed but still burning. The depression in the earth is wider now, a vortex of darkness that seems to *suck* at her. The trees part, slowly, as if in no hurry. A figure steps into the clearing. It’s tall, taller than Rory, with limbs that bend at impossible angles. Its skin is gray, like wet ash, and its hair is a mass of writhing black worms. But its face… Rory looks away. She can’t see it. There’s only a void, a hole in the center of its skull, and two pinpricks of red light where eyes should be. “*You came*,” a voice says. It’s not in her ears. It’s in her chest, in her bones, in the blood in her veins. “*We’ve waited. So long.*” Rory backs away, tripping again. The Hex wrench slips from her hand. The pendant burns, hotter than before, and she realizes—*it’s not warning her. It’s drawing it closer*. The figure takes a step. The ground shakes. The void in its skull glows, a sickly green light that spreads across the clearing. Rory sees it then—Eva, huddled in the corner of the vortex, her wrists bleeding, her eyes wide with terror. *“Rory,”* she whispers, though her lips don’t move. *“Run.”* The figure laughs. It’s a sound like rocks grinding, like a thousand knives being sharpened. “*She’s mine. All of them are. But you—you *fought*. We *like* you.*” Rory scrambles to her feet, the pendant still burning. The vortex is growing, swallowing the stones, the trees, the very air. She can’t run—there’s no path, no escape. The figure takes another step, and now Rory can *see* its hand, long fingers with nails like black glass, reaching for her. “*No*,” she says, her voice breaking. She clutches the pendant, closes her eyes, and thinks of Evan—of his sneer, his hand around her throat—and she *roars*. The pendant blazes, a white-hot flash that blinds her. When she opens her eyes, the figure is gone. The vortex is fading, shrinking back into the depression. But Eva is still there, her body slumped against the earth. “Eva,” Rory cries, kneeling. She turns Eva over. Her eyes are open, hollow, their whites stained black. A gash runs from her temple to her jaw, but the blood isn’t red—it’s black, like tar. “Eva, *please*—” A twig snaps. Rory spins. The figure is gone, but something else is here—something small, skulking between the trees. It’s humanoid, but its head is too big, its limbs too thin, its fingers ending in blunt nails. It tilts its head, and Rory sees its mouth: a split in its face, twisted into a grin that goes on forever. It takes a step. Rory grabs Eva’s hand, drags her to her feet, and runs. The pendant burns, guiding her, as the figure laughs behind her, the trees closing in, the ground rumbling. Somewhere, far off, a flower blooms—red, bright, *alive*. The air tastes like rain. The Heartstone sings. And Rory knows, with a cold certainty, that it’s not singing for her.
created_at"2026-02-20T19:42:47.689Z" 2/20/2026, 7:42:47 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency725
moderation_latency(null)
generation_time22967
tokens_prompt4560
tokens_completion2961
native_tokens_prompt4498
native_tokens_completion2777
native_tokens_completion_images(null)
native_tokens_reasoning720
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"
usage0.00117045
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"0217716165680444b0734cede0d35a658963f07bc220d4b5a3013"
is_byokfalse
latency532
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771616567-Ucu5ZOarqKdLGkvB4cy1"
upstream_id"0217716165680444b0734cede0d35a658963f07bc220d4b5a3013"
total_cost0.00117045
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags13
adverbTagCount0
adverbTags(empty)
dialogueSentences20
tagDensity0.65
leniency1
rawRatio0
effectiveRatio0
92.91% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1410
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"very"
count1
highlights
0"slowly"
1"very"
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)
75.18% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1410
totalAiIsms7
found
0
word"stomach"
count1
1
word"lurching"
count1
2
word"echo"
count1
3
word"whisper"
count1
4
word"reminder"
count1
5
word"maw"
count1
6
word"pulse"
count1
highlights
0"stomach"
1"lurching"
2"echo"
3"whisper"
4"reminder"
5"maw"
6"pulse"
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
emotionTells1
narrationSentences133
matches
0"e with terror"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences133
filterMatches
0"feel"
hedgeMatches
0"seems to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences139
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
73.11% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans36
markdownWords88
totalWords1387
ratio0.063
matches
0"not this time of year"
1"sneering"
2"“The Grove. Hel’s breath smells like rain.”"
3"alive"
4"glow"
5"sing-song"
6"feel"
7"Eva"
8"“Hel doesn’t hunt the living. It eats the ones who *escape"
9"bone"
10"shaped"
11"drawn"
12"key"
13"“The eye of the storm. The blood of the trapped.”"
14"petal"
15"It"
16"crescent-shaped"
17"known"
18"opening"
19"closing in"
20"laughing"
21"“Traitor,”"
22"“Escaped. Now we eat.”"
23"suck"
24"You came"
25"We’ve waited. So long."
26"it’s not warning her. It’s drawing it closer"
27"“Rory,”"
28"“Run.”"
29"She’s mine. All of them are. But you—you *fought"
30"like"
31"see"
32"No"
33"roars"
34"please"
35"alive"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
62.21% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1310
uniqueNames9
maxNameDensity1.76
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Heartstone5
Pendant1
Rory23
October1
Park1
Eva11
Evan4
London1
Hex5
persons
0"Heartstone"
1"Pendant"
2"Rory"
3"Eva"
4"Evan"
places
0"Park"
1"London"
globalScore0.622
windowScore0.833
90.48% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount2
matches
0"as if bowing then snap back, their colors draining to gray"
1"darkness that seems to suck* at her"
55.80% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.442
wordCount1387
matches
0"not the hardy perennials of a London park but irises the color of old blood, poppies"
1"Not with a bang, but with a pulse"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences139
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs38
mean36.5
std25.44
cv0.697
sampleLengths
092
171
219
381
448
59
678
722
817
967
1036
113
125
1343
143
1554
1647
1758
183
1963
203
2150
2250
2361
2427
2528
2651
2727
2850
2953
3011
3136
323
3356
344
3542
363
3713
92.07% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences133
matches
0"was gone"
1"been eaten"
2"are gone"
3"is thrown"
4"being sharpened"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs247
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount23
semicolonCount0
flaggedSentences19
totalSentences139
ratio0.137
matches
0"She pauses, panting, her boots sinking into moss that ought to be damp but isn’t—*not this time of year*."
1"Evan’s face flashes in her mind—pale, drunk, *sneering*—but she shoves it away."
2"The clearing hits her like a wave—sweet, cloying, *alive*—and the pendant screams, glowing so bright she has to squint."
3"A bird calls, but it’s not a thrush or a rook—too clear, too *sing-song*, like a child hummed off-key."
4"“Great. Fae tech.” She tucks it away, grabs the Hex wrench from her toolbelt—old habit from fixing bike chains mid-route—and clutches it like a bat."
5"Eva had been the one to warn Rory about Evan—Eva, who’d vanished six months ago, leaving only a half-finished journal and a reference to “the Grove” in her notes."
6"At the palm of the claw, a depression in the earth—black, like it’s been eaten away by something."
7"The irises around the depression are fine—no torn leaves, no trampled stems."
8"*It*—whatever it is—moves through the undergrowth, its path flattening every plant in its way."
9"It had mentioned a scar—*crescent-shaped*, on the left wrist."
10"The scar is there, raised, a reminder of the day she’d fallen into a canal at seven, her father hauling her out, yelling about “stupid curiosity.” She’d thought it was a coincidence, but Eva—Eva had *known* about it."
11"The pressure in her head splits, and she hears voices—hundreds of them, whispering, *laughing*, their words guttural and ancient, like stones grinding together."
12"The pendant burns, hotter than before, and she realizes—*it’s not warning her."
13"Rory sees it then—Eva, huddled in the corner of the vortex, her wrists bleeding, her eyes wide with terror."
14"She can’t run—there’s no path, no escape."
15"She clutches the pendant, closes her eyes, and thinks of Evan—of his sneer, his hand around her throat—and she *roars*."
16"A gash runs from her temple to her jaw, but the blood isn’t red—it’s black, like tar."
17"The figure is gone, but something else is here—something small, skulking between the trees."
18"Somewhere, far off, a flower blooms—red, bright, *alive*."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1332
adjectiveStacks0
stackExamples(empty)
adverbCount46
adverbRatio0.03453453453453453
lyAdverbCount6
lyAdverbRatio0.0045045045045045045
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences139
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences139
mean9.98
std7.45
cv0.747
sampleLengths
021
119
224
314
414
510
611
712
84
934
108
116
125
135
1419
1525
1613
1719
187
198
203
213
222
2325
249
252
264
274
284
297
3011
316
3229
3311
344
359
369
372
386
396
402
411
4218
434
4412
4518
4615
474
4832
493
37.77% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.2805755395683453
totalSentences139
uniqueOpeners39
83.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences120
matches
0"Somewhere, far off, a branch"
1"Then it’s gone."
2"Somewhere, far off, a flower"
ratio0.025
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences120
matches
0"She pauses, panting, her boots"
1"Her bike leans against the"
2"she mutters, wiping her palms"
3"It had started acting up"
4"She steps between the stones."
5"she says, though her voice"
6"She unzips her bag, pulls"
7"She tries again."
8"She tucks it away, grabs"
9"She’s being an idiot."
10"She came here to find"
11"It clatters against the stone,"
12"She edges toward the center"
13"It’s *shaped*, like a claw,"
14"She’d read the notes: Eva’s"
15"She touches it."
16"She backs away, tripping over"
17"It had mentioned a scar—*crescent-shaped*,"
18"She turns to run, but"
19"She fumbles for the pendant,"
ratio0.3
35.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount102
totalSentences120
matches
0"The Heartstone Pendant burns through"
1"She pauses, panting, her boots"
2"Her bike leans against the"
3"Richmond Park’s paths had been"
4"she mutters, wiping her palms"
5"The pendant pulses again, a"
6"Evan’s face flashes in her"
7"The Heartstone doesn’t lie."
8"It had started acting up"
9"Eva had sent it, but"
10"She steps between the stones."
11"The clearing hits her like"
12"Wildflowers bloom here, not the"
13"The air hums, a low"
14"A bird calls, but it’s"
15"she says, though her voice"
16"She unzips her bag, pulls"
17"Screen goes black."
18"She tries again."
19"She tucks it away, grabs"
ratio0.85
41.67% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences120
matches
0"Now, the trees press close,"
ratio0.008
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount11
matches
0"She pauses, panting, her boots sinking into moss that ought to be damp but isn’t—*not this time of year*."
1"Her bike leans against the nearest standing stone, its frame casting a jagged shadow that stretches longer than it should, even for late October."
2"The pendant pulses again, a steady thrum that matches her heartbeat."
3"Wildflowers bloom here, not the hardy perennials of a London park but irises the color of old blood, poppies that *glow* faintly at their centers."
4"The air hums, a low vibration that tickles the back of her throat."
5"The flowers bend at the waist, as if bowing, then snap back, their colors draining to gray."
6"The hum returns, louder, and Rory feels it in her bones, a pressure that makes her teeth ache."
7"For a second, she sees it: a flash of white, long limbs, a face that isn’t a face, just a void with two pinpricks of red."
8"She turns to run, but the trees are *closing in*, their branches weaving together to form a barrier."
9"It’s tall, taller than Rory, with limbs that bend at impossible angles."
10"The pendant blazes, a white-hot flash that blinds her."
48.08% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount2
matches
0"she whispers, though her lips don’t move"
1"she says, her voice breaking"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount5
fancyTags
0"she mutters (mutter)"
1"Eva had (have)"
2"she breathes (breathe)"
3"she whispers (whisper)"
4"Rory cries (cry)"
dialogueSentences20
tagDensity0.45
leniency0.9
rawRatio0.556
effectiveRatio0.5
76.2535%