Run: 2026-02-20-01KHY9CH19RZYEM7D96MNW5RHV

Run Details

Duration:
19.0s
Cost:
$0.001844
Provider:
xAI

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
Aurora's boot snagged on the gnarled root, yanking her forward into the clearing. She caught herself on a low branch, bark rough under her palms, and straightened with a sharp intake of breath. The ancient oaks loomed around her, their trunks twisted like forgotten promises, but she pushed the thought aside. She had come here for answers, not distractions. The Heartstone pendant hung heavy against her chest, its silver chain cool despite the warmth it sometimes emitted. Tonight, it lay dormant, a simple weight she ignored as she scanned the shadows. Richmond Park stretched vast and empty beyond the boundary of standing stones, but inside the grove, the air thickened, pressing against her skin like damp velvet. Eva had mentioned this place once, in a hushed phone call from Cardiff, her voice cracking over the line. "The Grove," she'd called it, as if the name alone warded off questions. "Go if you must, Rory, but don't stay long. Time slips there." Aurora had laughed it off then, but after the dreams started—whispers of silver chains and crimson glows—she'd traced the paths from her flat above Silas's bar, dodging late-night deliveries for Yu-Fei's to follow a hunch. The pendant had led her here, pulsing faintly two nights ago when she passed the park's edge. Now, silence. She stepped deeper, wildflowers brushing her ankles, their petals unnaturally vibrant even in the dim light filtering through the canopy. No streetlamps pierced this pocket; the oaks blocked the city's glow, leaving only slivers of moonlight to dance across the grass. Aurora knelt by the nearest standing stone, its surface etched with runes that looked carved yesterday, not centuries ago. She traced one with her fingertip, the stone smooth and warm, almost yielding. A chill prickled her neck. She wasn't prone to fancy; law books and abusive exes had beaten that out of her long before London swallowed her whole. But this felt deliberate, the warmth seeping into her skin like an invitation she hadn't accepted. A rustle came from the underbrush to her left, soft as silk tearing. Aurora froze, her hand dropping from the stone. Squirrels, she told herself. Foxes. The park teemed with them at night. She waited, breath steady, counting to ten in her head. One delivery route had taught her patience—dodging traffic on the Embankment, navigating Silas's rowdy patrons. Nothing followed. She rose, brushing soil from her jeans, and moved toward the centre of the clearing, where Eva had sketched a vague circle on a napkin during their last visit. "The heart of it," her friend had said, eyes distant. The flowers grew denser here, a carpet of blues and whites that released a faint, sweet scent when she disturbed them—honeyed, but undercut with something sharper, like crushed nettles. Aurora crouched again, pulling a small torch from her jacket pocket. The beam cut through the gloom, illuminating petals that curled inward as if shying from the light. Odd. She swept the torch lower, catching the glint of dew on the grass, though no rain had fallen. Her scar itched on her wrist, the crescent from that childhood tumble down the stairs in Cardiff, a reminder of clumsier days. She rubbed it absently, focusing on the ground. No obvious markers, just earth that seemed too loamy, too alive, shifting subtly under her gaze. Another sound: a low hum, like wind through hollow reeds, but the air hung still. It emanated from the oaks, vibrating up from their roots. Aurora swung the torch towards the nearest tree. Leaves quivered, though no breeze stirred the branches overhead. She stood slowly, heart picking up a notch, and circled the trunk. The bark bore no marks, but as she passed behind it, a shadow flickered at the edge of her vision—quick, like a bird's wing, gone before she turned fully. She did turn, torch beam stabbing the darkness. Empty. Just flowers and stone. "Pull yourself together," she muttered, voice swallowed by the grove. Talking helped, grounded her in the rational. Brendan, her father, had always said that—barrister's logic over Welsh superstition. Jennifer would counter with tales of the old country, but Aurora had chosen facts. Still, the pendant warmed now, a subtle pulse against her ribs. Not the Hel throb she'd felt before, near those shadowed alleys in Soho, but something akin, a distant echo. She slipped a hand under her shirt, fingers closing around the crimson gem. It glowed faintly, inner light seeping through her skin like embers under ash. The hum returned, closer, threading through the flowers. Aurora spun, torch catching a ripple in the grass—waves moving against no wind, converging on her boots. She stepped back, crushing blooms that released a stronger scent, cloying now, sticking to her throat. Her mind raced: out-of-the-box, that's what they called her at uni. Not panic. Observe. The standing stones framed the clearing like sentinels, their tops lost in shadow. She edged towards the nearest one, aiming to use it as a backstop. As she neared, a whisper slithered from the branches—words, almost, in a tongue that tugged at memory. Irish? Welsh? No, older, layered like echoes in a well. She reached the stone, pressing her shoulder against it. The surface thrummed, matching the pendant's pulse. Warmth spread up her arm, not unpleasant, but insistent, drawing her in. Aurora shook her head, focusing the torch on the ground ahead. There—footprints, faint impressions in the soil, too long for human, toes splayed like roots. Fresh. Her pulse hammered. Not animals. She followed them with the beam, tracing a meandering path that circled the clearing's heart. The prints overlapped, as if whatever made them paced endlessly, waiting. A twig snapped behind her. Close. Too close. Aurora whipped around, torchlight sweeping wild. Nothing. But the shadows between the oaks deepened, pooling like ink, and in their depths, eyes—pale, luminous—winked out as she stared. Peripheral, always just beyond direct sight. She backed away, boots sinking into softer earth, the flowers now parting before her like a path unwillingly revealed. The hum swelled, resolving into laughter, childlike and distant, then sharp as breaking glass. It circled her, bouncing off the stones. The pendant burned hot now, crimson glow illuminating her palm when she pulled it free. She clutched it, the chain tangling in her fingers. Eva's warning echoed: time slips. How long had she been here? Minutes? The park's distant traffic hum had faded entirely, leaving only the grove's symphony—rustles, whispers, the soft pad of unseen steps drawing nearer. Aurora's breath came shallow, her cool-headed facade cracking. She wasn't alone. The certainty settled in her gut like lead, heavier than the gem. She bolted for the boundary, torch bobbing, beam carving frantic arcs. The footprints multiplied underfoot, crisscrossing her path, forcing her to veer. A shape darted at the corner of her eye—tall, slender, limbs too fluid—vanishing into the oaks. The laughter swelled, no longer distant, but intimate, brushing her ear. Branches snagged her jacket, thorns drawing pinpricks of blood she barely registered. The standing stones loomed closer, salvation in their ancient bulk, but as she neared the gap she'd entered through, the air thickened further, resisting her push. Something grasped her ankle—cold fingers, bark-rough, yanking her down. Aurora kicked free, stumbling forward, the torch flying from her grip. It rolled, beam spinning wild, casting the grove in strobing madness. Flowers writhed in the light, petals unfurling like mouths. The pendant blazed, crimson light pulsing in time with her heart, illuminating the boundary ahead. She lunged for it, fingers brushing the stone's edge. Then the whispers coalesced into a single voice, her name twisted—Rory, Laila, Malphora—coiling around her like vines. The ground heaved, roots erupting to snare her legs, and from the shadows, forms emerged, eyes gleaming with unearthly hunger.
created_at"2026-02-20T19:45:48.613Z" 2/20/2026, 7:45:48 PM
model"x-ai/grok-4-fast"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3889
moderation_latency(null)
generation_time18729
tokens_prompt4560
tokens_completion2032
native_tokens_prompt4137
native_tokens_completion2078
native_tokens_completion_images0
native_tokens_reasoning367
native_tokens_cached151
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"completed"
usage0.00184375
router(null)
provider_responses
0
endpoint_id"c9586d9d-97ff-40ca-ae94-22504d6f9b7e"
id"0d096387-cab7-01a3-461b-b80f042b4f78"
is_byokfalse
latency85
model_permaslug"x-ai/grok-4-fast"
provider_name"xAI"
status200
api_type"completions"
id"gen-1771616748-bQgfQE7hLfuMiIpheOTH"
upstream_id"0d096387-cab7-01a3-461b-b80f042b4f78"
total_cost0.00184375
cache_discount0.00002265
upstream_inference_cost0
provider_name"xAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences4
tagDensity1
leniency1
rawRatio0
effectiveRatio0
96.18% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1310
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
wordCount1310
totalAiIsms37
found
0
word"loomed"
count2
1
word"warmth"
count3
2
word"weight"
count1
3
word"scanned"
count1
4
word"velvet"
count1
5
word"traced"
count2
6
word"silence"
count1
7
word"dance"
count1
8
word"etched"
count1
9
word"chill"
count1
10
word"silk"
count1
11
word"navigating"
count1
12
word"gloom"
count1
13
word"glint"
count1
14
word"reminder"
count1
15
word"quivered"
count1
16
word"flickered"
count1
17
word"pulse"
count3
18
word"throb"
count1
19
word"echo"
count1
20
word"raced"
count1
21
word"sentinels"
count1
22
word"whisper"
count1
23
word"echoes"
count1
24
word"tracing"
count1
25
word"depths"
count1
26
word"resolving"
count1
27
word"echoed"
count1
28
word"symphony"
count1
29
word"facade"
count1
30
word"gleaming"
count1
highlights
0"loomed"
1"warmth"
2"weight"
3"scanned"
4"velvet"
5"traced"
6"silence"
7"dance"
8"etched"
9"chill"
10"silk"
11"navigating"
12"gloom"
13"glint"
14"reminder"
15"quivered"
16"flickered"
17"pulse"
18"throb"
19"echo"
20"raced"
21"sentinels"
22"whisper"
23"echoes"
24"tracing"
25"depths"
26"resolving"
27"echoed"
28"symphony"
29"facade"
30"gleaming"
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
narrationSentences109
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences109
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen51
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1289
ratio0
matches(empty)
97.22% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions1
matches
0"Squirrels, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions32
wordCount1268
uniqueNames16
maxNameDensity0.95
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Heartstone1
Park1
Cardiff2
Aurora12
Silas2
Yu-Fei1
London1
Embankment1
Eva3
Talking1
Welsh2
Hel1
Soho1
Rory1
Laila1
Malphora1
persons
0"Aurora"
1"Silas"
2"Yu-Fei"
3"Embankment"
4"Eva"
5"Rory"
6"Laila"
7"Malphora"
places
0"Park"
1"Cardiff"
2"London"
3"Talking"
4"Soho"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount1
matches
0"as if shying from the light"
44.84% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.552
wordCount1289
matches
0"Not the Hel throb she'd felt before, near those shadowed alleys in Soho, but something akin, a distant echo"
1"not unpleasant, but insistent, drawing her in"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences109
matches
0"said that—barrister's"
26.45% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs14
mean92.07
std22.33
cv0.243
sampleLengths
091
1124
2116
399
4122
596
698
7108
885
981
1081
1187
1264
1337
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences109
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs230
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount17
semicolonCount2
flaggedSentences15
totalSentences109
ratio0.138
matches
0"\"Go if you must, Rory, but don't stay long. Time slips there.\" Aurora had laughed it off then, but after the dreams started—whispers of silver chains and crimson glows—she'd traced the paths from her flat above Silas's bar, dodging late-night deliveries for Yu-Fei's to follow a hunch."
1"No streetlamps pierced this pocket; the oaks blocked the city's glow, leaving only slivers of moonlight to dance across the grass."
2"She wasn't prone to fancy; law books and abusive exes had beaten that out of her long before London swallowed her whole."
3"One delivery route had taught her patience—dodging traffic on the Embankment, navigating Silas's rowdy patrons."
4"The flowers grew denser here, a carpet of blues and whites that released a faint, sweet scent when she disturbed them—honeyed, but undercut with something sharper, like crushed nettles."
5"The bark bore no marks, but as she passed behind it, a shadow flickered at the edge of her vision—quick, like a bird's wing, gone before she turned fully."
6"Brendan, her father, had always said that—barrister's logic over Welsh superstition."
7"Aurora spun, torch catching a ripple in the grass—waves moving against no wind, converging on her boots."
8"As she neared, a whisper slithered from the branches—words, almost, in a tongue that tugged at memory."
9"There—footprints, faint impressions in the soil, too long for human, toes splayed like roots."
10"But the shadows between the oaks deepened, pooling like ink, and in their depths, eyes—pale, luminous—winked out as she stared."
11"The park's distant traffic hum had faded entirely, leaving only the grove's symphony—rustles, whispers, the soft pad of unseen steps drawing nearer."
12"A shape darted at the corner of her eye—tall, slender, limbs too fluid—vanishing into the oaks."
13"Something grasped her ankle—cold fingers, bark-rough, yanking her down."
14"Then the whispers coalesced into a single voice, her name twisted—Rory, Laila, Malphora—coiling around her like vines."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1289
adjectiveStacks0
stackExamples(empty)
adverbCount48
adverbRatio0.037238169123351435
lyAdverbCount14
lyAdverbRatio0.010861132660977503
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean11.83
std7.57
cv0.64
sampleLengths
013
120
218
38
418
514
626
719
813
947
1017
112
1220
1321
1419
1513
165
1722
1816
1913
208
214
221
237
2410
2515
262
2729
2810
2929
3011
3117
321
3318
3422
358
3616
3715
3810
398
409
4112
4229
438
441
454
4610
477
4811
4914
66.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats1
diversityRatio0.4036697247706422
totalSentences109
uniqueOpeners44
70.92% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences94
matches
0"Just flowers and stone."
1"Then the whispers coalesced into"
ratio0.021
88.09% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences94
matches
0"She caught herself on a"
1"She had come here for"
2"she'd called it, as if"
3"She stepped deeper, wildflowers brushing"
4"She traced one with her"
5"She wasn't prone to fancy;"
6"She waited, breath steady, counting"
7"She rose, brushing soil from"
8"her friend had said, eyes"
9"She swept the torch lower,"
10"Her scar itched on her"
11"She rubbed it absently, focusing"
12"It emanated from the oaks,"
13"She stood slowly, heart picking"
14"She did turn, torch beam"
15"she muttered, voice swallowed by"
16"She slipped a hand under"
17"It glowed faintly, inner light"
18"She stepped back, crushing blooms"
19"Her mind raced: out-of-the-box, that's"
ratio0.33
29.15% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount81
totalSentences94
matches
0"Aurora's boot snagged on the"
1"She caught herself on a"
2"The ancient oaks loomed around"
3"She had come here for"
4"The Heartstone pendant hung heavy"
5"Tonight, it lay dormant, a"
6"Richmond Park stretched vast and"
7"Eva had mentioned this place"
8"she'd called it, as if"
9"Aurora had laughed it off"
10"The pendant had led her"
11"She stepped deeper, wildflowers brushing"
12"Aurora knelt by the nearest"
13"She traced one with her"
14"A chill prickled her neck."
15"She wasn't prone to fancy;"
16"A rustle came from the"
17"Aurora froze, her hand dropping"
18"Squirrels, she told herself."
19"The park teemed with them"
ratio0.862
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences94
matches(empty)
ratio0
74.83% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount6
matches
0"One delivery route had taught her patience—dodging traffic on the Embankment, navigating Silas's rowdy patrons."
1"No obvious markers, just earth that seemed too loamy, too alive, shifting subtly under her gaze."
2"Her mind raced: out-of-the-box, that's what they called her at uni."
3"She followed them with the beam, tracing a meandering path that circled the clearing's heart."
4"The footprints multiplied underfoot, crisscrossing her path, forcing her to veer."
5"The pendant blazed, crimson light pulsing in time with her heart, illuminating the boundary ahead."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount3
matches
0"she'd, as if the name alone warded off questions"
1"her friend had, eyes distant"
2"she muttered, voice swallowed by the grove"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount4
fancyTags
0"she'd (would)"
1"Aurora had (have)"
2"her friend had (have)"
3"she muttered (mutter)"
dialogueSentences4
tagDensity1
leniency1
rawRatio1
effectiveRatio1
73.1347%