Run: 2026-02-20-01KHY9DN0EZZMG174H1A5NB1ED

Run Details

Duration:
29.1s
Cost:
$0.001268
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 burns through Aurora’s coat, a hot weight against her sternum. She stumbles over a root, the sodden leaf litter squelching between her boots, and fumbles for the stone in her pocket. Metal catches—she flips it open, and the pendant pulses, crimson light bleeding through the silver chain. *Good*, she thinks. *Not a false alarm*. The trees thin here, stripped of leaves even in summer, their gnarled branches clawing at a sky blotted out by cloud. She’d followed the stone’s pull for three hours, since the first *tingle* through her wrist at the corner shop. Now she’s in Richmond Park, but this isn’t the park she knows: no laughter from kids on bikes, no dogs barking, no distant hum of traffic. Just *hush*. Aurora presses closer to the standing stones—ancient oaks, their trunks scarred with carvings she can’t parse, their bases buried in muck. The Heartstone glows brighter, a feverish throb, and she remembers Eva’s voice, high and frantic: *“It leads you to the Grove. Don’t ignore it. It’s not safe, but you have to.”* Eva’s letter had been in a box at the back of Aurora’s closet, postmarked a month after Evan had left. *“Your ex was a fool, Rory. But he wasn’t the only one watching you. The stone—give it back to who sent it. Before they come for it. Before they come for you.”* Great. *Overnight delivery with a side of fae curses*. A twig snaps. She freezes. The sound doesn’t come from the trees—it’s *behind* her, low and wet, like something dragging a net through leaves. She spins, chest heaving, but the path behind is empty. Just darkness. The Heartstone lurches in her hand, and she stumbles into the circle of stones. The carvings suddenly leap out: twisting vines that look like veins, eyes that seem to follow her as she backpedals. One of the oaks creaks, and she sees it then—a flicker of fur, a flash of antler, between the trunks. *A deer?* But deer don’t move like that—low to the ground, shoulders hunched, as if kneeling to avoid being seen. “Hello?” Her voice cracks. She clears her throat. “Just… just me. Delivery driver. Came to drop off a… a parcel. For… someone.” No answer. But the humming in her ears grows, a high, thin note that makes her teeth ache. She looks at her phone: screen black. No service. Of course. She’d checked three times on the walk here, during the stop at Tesco for a flask of coffee. Now the device lies in her pocket, useless. Aurora clings to the pendant. Its warmth is a lifeline. The Grove’s other spell, the one Eva mentioned in the letter—time. “An hour there can be days,” she’d written. “Or a minute. Don’t trust the clock. Trust the stone.” The stone stutters, pulsing faster. Aurora’s pulse matches. She steps to the center of the circle, the grass soft and slimy under her boots. The carvings on the stones blur, as if the air itself is rippling. *Time’s starting*, she thinks. *Fun*. A creak, louder this time. Not wood. *Metal*. She turns. The oak to her left is moving, its trunk bending toward her, branches coiling like snakes. The leaves—what little there are—turn black, crumbling to dust. The carvings on its bark glow, and for a second, she sees it: a door, rectangular, carved into the tree’s heart. Vines twist into handles, and behind them, a flash of light—pale, blue, like moonlight on water. The Heartstone screams. Aurora drops it, but it floats, spinning, the crimson glow so bright it hurts to look at. The door in the tree rips open, wood splintering, and a wind bursts through—cold, with a metallic tang, like blood. She steps back, tripping over her own feet, and lands hard on her hip. The pendant slams into the earth, and the light dies. Silence. Then—footsteps. Not the dry cr crunch of leaves. These are wet. Squelching. Like boots in mud. They come from the door, from the tree that now stands still, its branches slack. Aurora crawls backward, her palms sliding over the moss, heart thundering. The pendant’s still buried in the ground, but it hums, a low, urgent note. *Listen*. The footsteps stop. A breath. Not human. Too wet. Too slow. Like air blowing through a cracked pipe. “*Laila*,” it says. Aurora freezes. The name isn’t in her head—it’s *in her bones*. Laila. Eva’s old nickname, from when they were kids, when Eva’s mother still let them paint their faces with berry juice and call her “Malphora the Unseen” for hiding under beds. But… *Laila* was also the name on the Heartstone’s origin. *Given to Aurora by an unknown benefactor*. “*You came*,” the voice says again. “*We’ve waited*. The stone *hungers*.” Aurora’s hand finds a rock, jagged and wet. The trees shift around her, their branches rustling like a crowd. She can’t see anything, but she *feels* them—bodies, warm and clammy, pressing in from all sides. The door in the oak yawns wider, and the light inside it grows, until she can’t look away. “*Eva tried to hide you*,” the voice hisses. “*But stones don’t lie. And neither do we*.” Aurora scrambles to her feet, the rock tight in her hand. The stones ring out, a high, clear chime, and the carvings ignite, blue fire crawling over the bark. The creature behind the door steps into the light—tall, thin, with skin like wet paper and eyes that are two black pits. Its fingers end in claws, yellow and curved. “*She failed*,” it says. “*Now you pay*.” The first claw rips through the air, and Aurora runs. The pendant glows, a beacon, and she sprints toward the oak, the creature’s howl splitting the night. The door is closing, but she dives, rolling into the mud, and slams her shoulder into the wood. The carvings burn her skin, but she doesn’t stop—ripping her hand free, the pendant in her grasp, and shoving it into the door’s lock. The light explodes. Aurora is thrown backward, hitting a tree, and for a moment, the world goes white. Then the pain comes—shards of glass in her arms, a throb in her skull—and the sound of glass *cracking*. She blinks, and the pendant is gone, embedded in the door. The creature is screaming, its body turning to ash, and the trees are still, their carvings dark again. But the air isn’t quiet. It’s *echoing*. Aurora pushes herself up, her palms sticky with blood, and sees it: footprints, leading from the circle, through the trees, toward the park’s edge. Tiny, webbed, and oozing black liquid. Behind them—something else. A shadow, longer than it should be, stretching toward her. The Heartstone’s hum returns, low and steady. Aurora turns, the rock in her hand, and the shadow steps into the light. It’s a girl. No—*a thing that looks like a girl*. Her hair is matted, her dress torn, and her eyes are two pinpricks of red. But her hands are claws, and her feet are hooves, and her lips are stretched too wide, split at the corners. “*You have it back*,” she says. Her voice is a chorus of voices, all speaking at once, high and keening. “*But it’s not enough. Not yet*.” Aurora backs away, the girl closing the distance. The trees rustle, and somewhere, a branch snaps—too near, too loud. “*The Grove remembers*,” the girl hisses. “*It knows you took it. It *waits*.” Aurora trips over a root, and the girl stops, tilting her head. The red in her eyes brightens, and a laugh escapes her—dry, rattling, like broken glass. “*Eva lied to you*,” she says. “*She never wanted to protect you. She wanted to *take* you. Take the stone. Take the Grove*.” The world lurches. Aurora’s head spins, and she sees it: Eva, standing in the trees, her smile too wide, her eyes cold. *“It’s not safe, but you have to,”* she’d said. *“You have to trust me.”* Trust. As if trust wasn’t what got her here. The girl’s face is inches from hers now, her breath scalding and thick. “*It’s time to pay the debt*,” she says. “*And you’re first*.” Aurora swings the rock. It misses. The girl laughs, and her claws rake across Aurora’s cheek, hot and burning. She staggers back, blood streaming, and the trees groan around them. The door in the oak is open again, the light inside pulsing with a familiar rhythm—the same rhythm as the Heartstone, the same rhythm as her own heartbeat. “*Run*,” a voice whispers in her ear. Not the girl’s. *Not the creature’s*. Eva’s. But softer, rougher, like it’s been screaming for years. *“Run, Rory. *Run*.”* The girl lunges, and Aurora turns, sprinting toward the park’s edge, the night wind tearing at her hair. The pendant glows behind her, a beacon, and somewhere, the stones chime, once, twice, as if in warning. She runs. And behind her, the Grove watches. And the Heartstone *hungers*.
created_at"2026-02-20T19:46:25.441Z" 2/20/2026, 7:46:25 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency455
moderation_latency(null)
generation_time28997
tokens_prompt4560
tokens_completion3281
native_tokens_prompt4498
native_tokens_completion3103
native_tokens_completion_images(null)
native_tokens_reasoning840
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"
usage0.00126825
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"021771616785587b1e926b94f741badb049b6681cf829b84e82a7"
is_byokfalse
latency328
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771616785-eh90yGxVmNhZ6bR9OJ3m"
upstream_id"021771616785587b1e926b94f741badb049b6681cf829b84e82a7"
total_cost0.00126825
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
totalTags10
adverbTagCount1
adverbTags
0"the voice says again [again]"
dialogueSentences26
tagDensity0.385
leniency0.769
rawRatio0.1
effectiveRatio0.077
96.68% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1508
totalAiIsmAdverbs1
found
0
adverb"suddenly"
count1
highlights
0"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
53.58% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1508
totalAiIsms14
found
0
word"weight"
count1
1
word"throb"
count2
2
word"flicker"
count1
3
word"warmth"
count1
4
word"pulse"
count1
5
word"silence"
count1
6
word"footsteps"
count2
7
word"beacon"
count2
8
word"echoing"
count1
9
word"streaming"
count1
10
word"familiar"
count1
highlights
0"weight"
1"throb"
2"flicker"
3"warmth"
4"pulse"
5"silence"
6"footsteps"
7"beacon"
8"echoing"
9"streaming"
10"familiar"
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
narrationSentences141
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences141
filterMatches(empty)
hedgeMatches
0"seem to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences153
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
0.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans42
markdownWords179
totalWords1486
ratio0.12
matches
0"Good"
1"Not a false alarm"
2"tingle"
3"hush"
4"“It leads you to the Grove. Don’t ignore it. It’s not safe, but you have to.”"
5"“Your ex was a fool, Rory. But he wasn’t the only one watching you. The stone—give it back to who sent it. Before they come for it. Before they come for you.”"
6"Overnight delivery with a side of fae curses"
7"behind"
8"A deer?"
9"Time’s starting"
10"Fun"
11"Metal"
12"Listen"
13"Laila"
14"in her bones"
15"Laila"
16"Given to Aurora by an unknown benefactor"
17"You came"
18"We’ve waited"
19"hungers"
20"feels"
21"Eva tried to hide you"
22"But stones don’t lie. And neither do we"
23"She failed"
24"Now you pay"
25"cracking"
26"echoing"
27"a thing that looks like a girl"
28"You have it back"
29"But it’s not enough. Not yet"
30"The Grove remembers"
31"It knows you took it. It *waits"
32"Eva lied to you"
33"She never wanted to protect you. She wanted to *take"
34"“It’s not safe, but you have to,”"
35"“You have to trust me.”"
36"It’s time to pay the debt"
37"And you’re first"
38"Run"
39"Not the creature’s"
40"“Run, Rory. *Run"
41"hungers"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1312
uniqueNames9
maxNameDensity1.6
worstName"Aurora"
maxWindowNameDensity3
worstWindowName"Aurora"
discoveredNames
Heartstone8
Aurora21
Richmond1
Park1
Eva7
Evan1
Tesco1
Grove2
Trust1
persons
0"Heartstone"
1"Aurora"
2"Eva"
3"Evan"
4"Grove"
places
0"Richmond"
1"Park"
2"Tesco"
globalScore0.7
windowScore0.667
87.50% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences80
glossingSentenceCount2
matches
0"eyes that seem to follow her as she backpedals"
1"as if kneeling to avoid being seen"
65.41% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.346
wordCount1486
matches
0"not safe, but you have to"
1"not safe, but you have to,”* she’d said"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences153
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs53
mean28.04
std23.19
cv0.827
sampleLengths
056
168
252
352
49
53
633
774
822
955
1039
1142
128
1364
143
1561
161
171
1856
193
2015
213
2259
2311
2453
2516
2659
277
2869
293
3063
315
322
3343
3421
353
3643
3726
3819
3913
4027
4123
4236
439
4424
454
462
4752
4826
4936
95.31% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences141
matches
0"being seen"
1"is thrown"
2"is matted"
3"are stretched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs215
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount22
semicolonCount0
flaggedSentences20
totalSentences153
ratio0.131
matches
0"Metal catches—she flips it open, and the pendant pulses, crimson light bleeding through the silver chain."
1"Aurora presses closer to the standing stones—ancient oaks, their trunks scarred with carvings she can’t parse, their bases buried in muck."
2"The sound doesn’t come from the trees—it’s *behind* her, low and wet, like something dragging a net through leaves."
3"One of the oaks creaks, and she sees it then—a flicker of fur, a flash of antler, between the trunks."
4"*A deer?* But deer don’t move like that—low to the ground, shoulders hunched, as if kneeling to avoid being seen."
5"The Grove’s other spell, the one Eva mentioned in the letter—time."
6"The leaves—what little there are—turn black, crumbling to dust."
7"Vines twist into handles, and behind them, a flash of light—pale, blue, like moonlight on water."
8"The door in the tree rips open, wood splintering, and a wind bursts through—cold, with a metallic tang, like blood."
9"Then—footsteps."
10"The name isn’t in her head—it’s *in her bones*."
11"She can’t see anything, but she *feels* them—bodies, warm and clammy, pressing in from all sides."
12"The creature behind the door steps into the light—tall, thin, with skin like wet paper and eyes that are two black pits."
13"The carvings burn her skin, but she doesn’t stop—ripping her hand free, the pendant in her grasp, and shoving it into the door’s lock."
14"Then the pain comes—shards of glass in her arms, a throb in her skull—and the sound of glass *cracking*."
15"Behind them—something else."
16"No—*a thing that looks like a girl*."
17"The trees rustle, and somewhere, a branch snaps—too near, too loud."
18"The red in her eyes brightens, and a laugh escapes her—dry, rattling, like broken glass."
19"The door in the oak is open again, the light inside pulsing with a familiar rhythm—the same rhythm as the Heartstone, the same rhythm as her own heartbeat."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1333
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.03225806451612903
lyAdverbCount1
lyAdverbRatio0.0007501875468867217
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences153
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences153
mean9.71
std7.36
cv0.758
sampleLengths
012
121
216
33
44
521
619
726
82
921
1031
1120
1232
131
148
153
162
1719
1810
192
2014
2120
2220
2320
244
254
2614
272
2816
297
302
312
3218
338
345
355
3611
378
3810
395
403
4116
4213
434
441
455
462
471
482
4916
41.50% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.2875816993464052
totalSentences153
uniqueOpeners44
31.15% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences107
matches
0"Then the pain comes—shards of"
ratio0.009
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount18
totalSentences107
matches
0"She stumbles over a root,"
1"She’d followed the stone’s pull"
2"She spins, chest heaving, but"
3"Her voice cracks"
4"She clears her throat."
5"She looks at her phone:"
6"She’d checked three times on"
7"Its warmth is a lifeline."
8"She steps to the center"
9"She steps back, tripping over"
10"They come from the door,"
11"She can’t see anything, but"
12"Its fingers end in claws,"
13"She blinks, and the pendant"
14"It’s a girl."
15"Her hair is matted, her"
16"Her voice is a chorus"
17"She staggers back, blood streaming,"
ratio0.168
62.80% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount85
totalSentences107
matches
0"The Heartstone burns through Aurora’s"
1"She stumbles over a root,"
2"Metal catches—she flips it open,"
3"The trees thin here, stripped"
4"She’d followed the stone’s pull"
5"Aurora presses closer to the"
6"The Heartstone glows brighter, a"
7"Eva’s letter had been in"
8"A twig snaps."
9"The sound doesn’t come from"
10"She spins, chest heaving, but"
11"The Heartstone lurches in her"
12"The carvings suddenly leap out:"
13"*A deer?* But deer don’t"
14"Her voice cracks"
15"She clears her throat."
16"She looks at her phone:"
17"She’d checked three times on"
18"Aurora clings to the pendant."
19"Its warmth is a lifeline."
ratio0.794
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences107
matches
0"Now she’s in Richmond Park,"
1"Now the device lies in"
2"As if trust wasn’t what"
ratio0.028
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount3
matches
0"The oak to her left is moving, its trunk bending toward her, branches coiling like snakes."
1"Aurora crawls backward, her palms sliding over the moss, heart thundering."
2"The creature is screaming, its body turning to ash, and the trees are still, their carvings dark again."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount1
fancyTags
0"a voice whispers (whisper)"
dialogueSentences26
tagDensity0.269
leniency0.538
rawRatio0.143
effectiveRatio0.077
83.3537%