Run: 2026-02-20-01KHYARYGBDKDMW6J0PXWHDZXV

Run Details

Duration:
24.9s
Cost:
$0.001291
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
Aurora’s boots crunched over frozen leaves—though it was late August, the ground had turned hard, brittle. A branch snapped behind her, sharp and precise. She spun, heart lurching. The dark swallowed whatever had made the noise, leaving only the faint rustle of her own breath. *Eva’s stories*, she thought. *Stupid to listen to Eva.* But the Heartstone had pulsed, insistent, when she’d left the bar that night, its crimson glow seeping through the leather of her bag like a warning. *“The Grove’s open,”* Eva had mumbled, eyes distant, before passing out on Aurora’s couch. *“Don’t go alone.”* Aurora gripped the strap of her backpack tighter. The pendant inside burned, a slow heat against her spine. She’d come here for answers—about the Heartstone, about the dreams that had started three months ago, about the man who’d smiled at her from a taxi window, saying, *“You’re not meant for this.”* But now, standing at the edge of Richmond Park, her fingers brushing the iron gate’s cold bars, she realized she’d forgotten to ask *if* this place was even real. The park beyond was a void. No streetlights, no moon—only the flicker of her phone, which buzzed to life as she stepped through, then died, its screen going black. *Of course*, she thought, shoving it into her pocket. *Fae likes to play with signals.* She turned left, toward the thicket where Eva said the standing stones hid. The trees grew taller here, their branches weaving a canopy that blocked what little starlight remained. The air smelled of iron, coppery and thick, like rain on rust. Aurora’s wrist itched. She pulled up her sleeve, the crescent scar on her left forearm throbbing. As a child, she’d fallen on a kitchen knife, she’d told the doctors. But sometimes, in the quiet, she swore it had *moved*—a thin line, shifting, stretching. Eva said it was the pendant, pressed to her skin when she’d first found it, its heat searing through her shirt. *“Protection,”* her friend had whispered. *“It chose you.”* The throb stopped. Aurora stared at her wrist, confused. When had the pendant started glowing? She unzipped her backpack, the leather creaking. The Heartstone sat on top of her delivery bag, its surface blazing red, the light so bright it cast shadows on the ground. *“What the hell,”* she breathed, but the word got stuck in her throat. The pendant’s glow intensified, the warmth spreading up her arm, into her chest. For a moment, she was blind—not from the light, but from the memory: a man in a black coat, his face blurred, saying, *“It opens when you’re ready. But you’ll need help.”* Help. Eva. But Eva was in London, safe above Silas’ bar, while Aurora stumbled through the dark, chasing a stone that hummed like a heartbeat. She kept walking. The trees thinned. A clearing appeared, and with it, the standing stones. They were older than she’d imagined—gnarled, moss-covered, their surfaces carved with symbols too small to see in the dark. But the Heartstone blazed brighter, pointing toward the center. Aurora stepped forward, the grass soft beneath her boots, and froze. The stones had *moved*. Not just shifted—*moved*. They stood closer together now, their gaps narrowing, as if trying to form a circle. *Fae time*, she remembered. *An hour here is minutes outside, or days.* She checked her watch. Ten minutes had passed. Ten minutes in a circle of stones that had grown tighter. “Hello?” Her voice cracked, too loud. The woods swallowed the sound. She looked down, and her breath hitched. A doll lay in the dirt, a few feet from her. Porcelain skin, chipped at the cheek, its dress a faded blue. Its eyes were black stones, polished until they glowed. But its mouth—*oh god*—its mouth wasn’t painted or stitched. It was *ripped*, raw, the edges of the fabric fraying into rags. What looked like dried mud caked the split, and for a second, Aurora thought she saw something glint beneath it—gold, maybe, or a tooth. She stepped back, tripping over a root. The doll’s head turned. Not slowly. Not jerkily. It *twisted*, its neck rotating 180 degrees, until its face was pressed to the ground, eyes fixed on her ankle. Aurora scrambled away, her backpack catching on a stone. It fell open, papers spilling. She fumbled to close it, but the doll was moving again, inching toward her, its arms and legs flopping in a jerky, lifeless rhythm. “Stop,” she whispered, though her voice was a squeak. The doll didn’t stop. It crawled faster, its stone eyes locking on hers, and when it was within reach, it reached out. Its hand was cold, colder than the night air, its fingers joints popping as it gripped her ankle. Aurora screamed. She tried to kick it away, but the doll held on, its grip like a vice. She glanced down, and saw the symbols on the stones glowing now, faint green light spilling from their cracks. The pendant in her bag blazed white, burning. The Iron Gate man’s voice echoed in her mind: *“You’ll need help.”* *Help*. Eva had said *protection*, but help? The doll pulled. Aurora fell, her elbow hitting a stone. The pain registered a second later, when the world went red. The doll was on top of her now, its face inches from hers, the raw wound on its mouth oozing something thick and black. Its breath—*its breath*—was hot, sickly sweet, like overripe peaches. Aurora gagged, trying to roll away, but the doll’s knees pinned her. Its hands—*its hands*—were claws, sharp and curved, digging into her shoulders. Then the ground shook. Not a rumble. A *thrum*, like a drumbeat in her bones. The doll froze, its head turning upward. Aurora followed its gaze, and her blood turned to ice. Behind the stones, a door had opened. Not a door. A portal. Its edges were blurred, like water, but the light within was familiar—green, sickly and bright, the same green that glowed in the Heartstone’s core. It pulsed, in time with her heartbeat, and the symbols on the stones flared, blinding her. The pendant in her bag *screamed*, a high-pitched whine that made her ears bleed. The doll released her, scrambling back to its knees, as if in fear. Aurora pushed herself up, her shoulders raw, and stared. The portal expanded, swallowing the trees, eating the night. A sound came through it—a howl, not of wind, but of something *alive*, something hungry. Aurora fumbled for her backpack, yanking the Heartstone free. Its surface was on fire now, the red light so intense she had to shield her eyes. The doll stood, its head tilted, watching the portal. “Come on,” she whispered, her voice breaking. She ran, but her legs felt like lead. The portal loomed closer, and when she was ten feet away, it *reached out*, a tendril of green light snaking toward her. Aurora hurled the Heartstone. It hit the ground inside the portal, and the light flared, a white hot burst that seared her retinas. The howl turned to a scream. The doll lunged. Aurora tried to dive, but the portal’s tendril wrapped around her ankle, pulling her forward. She grabbed a stone, her fingers scraping, but it crumbled in her hand, turning to dust. The doll’s claws found her arm, slashing deep, but Aurora didn’t feel it. She stared at the portal, at the figure stepping through—tall, cloaked, its face hidden by a hood—and saw, then, the red scar on its wrist. Evan. No. *Not Evan.* A second, taller figure. A woman. Her hair was black, her eyes blue, and when she smiled, Aurora saw the crescent scar on her left wrist, stretching, *smiling*, as the portal closed behind her. The last thing Aurora knew was the taste of blood, the sound of her own scream, and the feeling of the Heartstone’s warmth spreading through her, into her bones, into her *soul*. The stones stilled. The portal vanished. The only sound was the rustle of leaves. And, somewhere, a child laughed.
created_at"2026-02-20T20:10:04.192Z" 2/20/2026, 8:10:04 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency483
moderation_latency(null)
generation_time24270
tokens_prompt4560
tokens_completion3447
native_tokens_prompt4498
native_tokens_completion3180
native_tokens_completion_images(null)
native_tokens_reasoning1284
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"
usage0.00129135
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"02177161820433261de39c93fac111732577779cd317989280df1"
is_byokfalse
latency384
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771618204-Sb6O5QJkMRmH6fbO8Ovt"
upstream_id"02177161820433261de39c93fac111732577779cd317989280df1"
total_cost0.00129135
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
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences11
tagDensity0.727
leniency1
rawRatio0
effectiveRatio0
96.28% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1344
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)
47.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1344
totalAiIsms14
found
0
word"lurching"
count1
1
word"pulsed"
count2
2
word"flicker"
count1
3
word"searing"
count1
4
word"throb"
count1
5
word"warmth"
count2
6
word"porcelain"
count1
7
word"glint"
count1
8
word"echoed"
count1
9
word"familiar"
count1
10
word"loomed"
count1
11
word"the last thing"
count1
highlights
0"lurching"
1"pulsed"
2"flicker"
3"searing"
4"throb"
5"warmth"
6"porcelain"
7"glint"
8"echoed"
9"familiar"
10"loomed"
11"the last thing"
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
narrationSentences118
matches
0"f in fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences118
filterMatches
0"watch"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences120
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen63
ratio0
matches(empty)
82.88% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans32
markdownWords78
totalWords1332
ratio0.059
matches
0"Eva’s stories"
1"Stupid to listen to Eva."
2"“The Grove’s open,”"
3"“Don’t go alone.”"
4"“You’re not meant for this.”"
5"if"
6"Of course"
7"Fae likes to play with signals."
8"moved"
9"“Protection,”"
10"“It chose you.”"
11"“What the hell,”"
12"“It opens when you’re ready. But you’ll need help.”"
13"moved"
14"moved"
15"Fae time"
16"An hour here is minutes outside, or days."
17"oh god"
18"ripped"
19"twisted"
20"“You’ll need help.”"
21"Help"
22"protection"
23"its breath"
24"its hands"
25"thrum"
26"screamed"
27"alive"
28"reached out"
29"Not Evan."
30"smiling"
31"soul"
97.22% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions1
matches
0"But sometimes, in the quiet, she swore it had *moved*—a thin line, shifting, stretching."
75.90% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1282
uniqueNames10
maxNameDensity1.48
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Aurora"
discoveredNames
August1
Heartstone8
Aurora19
Richmond1
Park1
Eva8
Help2
London1
Iron1
Gate1
persons
0"Heartstone"
1"Aurora"
2"Eva"
places
0"Richmond"
1"Park"
2"London"
globalScore0.759
windowScore0.833
60.71% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount3
matches
0"as if trying to form a circle"
1"looked like dried mud caked the split, an"
2"felt like lead"
49.85% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.502
wordCount1332
matches
0"not from the light, but from the memory: a man in a black coat, his face blurred, sa"
1"not of wind, but of something *alive*, something hungry"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences120
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs28
mean47.57
std35.16
cv0.739
sampleLengths
097
180
285
372
4128
515
692
718
876
911
1062
1149
1264
1377
144
1528
167
175
1876
1959
2066
2172
221
2337
2432
256
268
275
93.37% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences118
matches
0"got stuck"
1"was *ripped"
2"was pressed"
3"were blurred"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs249
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount18
semicolonCount0
flaggedSentences14
totalSentences120
ratio0.117
matches
0"Aurora’s boots crunched over frozen leaves—though it was late August, the ground had turned hard, brittle."
1"She’d come here for answers—about the Heartstone, about the dreams that had started three months ago, about the man who’d smiled at her from a taxi window, saying, *“You’re not meant for this.”* But now, standing at the edge of Richmond Park, her fingers brushing the iron gate’s cold bars, she realized she’d forgotten to ask *if* this place was even real."
2"No streetlights, no moon—only the flicker of her phone, which buzzed to life as she stepped through, then died, its screen going black."
3"But sometimes, in the quiet, she swore it had *moved*—a thin line, shifting, stretching."
4"For a moment, she was blind—not from the light, but from the memory: a man in a black coat, his face blurred, saying, *“It opens when you’re ready. But you’ll need help.”* Help."
5"They were older than she’d imagined—gnarled, moss-covered, their surfaces carved with symbols too small to see in the dark."
6"Not just shifted—*moved*."
7"But its mouth—*oh god*—its mouth wasn’t painted or stitched."
8"What looked like dried mud caked the split, and for a second, Aurora thought she saw something glint beneath it—gold, maybe, or a tooth."
9"Its breath—*its breath*—was hot, sickly sweet, like overripe peaches."
10"Its hands—*its hands*—were claws, sharp and curved, digging into her shoulders."
11"Its edges were blurred, like water, but the light within was familiar—green, sickly and bright, the same green that glowed in the Heartstone’s core."
12"A sound came through it—a howl, not of wind, but of something *alive*, something hungry."
13"She stared at the portal, at the figure stepping through—tall, cloaked, its face hidden by a hood—and saw, then, the red scar on its wrist."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount424
adjectiveStacks0
stackExamples(empty)
adverbCount7
adverbRatio0.01650943396226415
lyAdverbCount2
lyAdverbRatio0.0047169811320754715
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences120
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences120
mean11.1
std8.66
cv0.78
sampleLengths
016
18
24
317
44
531
614
73
88
910
1062
116
1223
139
1419
1516
1612
173
1813
1913
2014
2121
225
233
243
256
266
277
2823
2913
3013
3133
321
3323
343
353
369
3719
389
3911
404
413
4215
434
4412
454
4611
476
485
497
40.83% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.25833333333333336
totalSentences120
uniqueOpeners31
60.61% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences110
matches
0"*Of course*, she thought, shoving"
1"Then the ground shook."
ratio0.018
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences110
matches
0"She spun, heart lurching."
1"She’d come here for answers—about"
2"She pulled up her sleeve,"
3"her friend had whispered"
4"She unzipped her backpack, the"
5"she breathed, but the word"
6"She kept walking."
7"They were older than she’d"
8"They stood closer together now,"
9"Her voice cracked, too loud"
10"She looked down, and her"
11"Its eyes were black stones,"
12"It was *ripped*, raw, the"
13"She stepped back, tripping over"
14"It *twisted*, its neck rotating"
15"It fell open, papers spilling."
16"She fumbled to close it,"
17"she whispered, though her voice"
18"It crawled faster, its stone"
19"Its hand was cold, colder"
ratio0.3
50.91% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount90
totalSentences110
matches
0"Aurora’s boots crunched over frozen"
1"A branch snapped behind her,"
2"She spun, heart lurching."
3"The dark swallowed whatever had"
4"*Eva’s stories*, she thought."
5"Eva had mumbled, eyes distant,"
6"Aurora gripped the strap of"
7"The pendant inside burned, a"
8"She’d come here for answers—about"
9"The park beyond was a"
10"*Fae likes to play with"
11"The trees grew taller here,"
12"The air smelled of iron,"
13"Aurora’s wrist itched."
14"She pulled up her sleeve,"
15"Eva said it was the"
16"her friend had whispered"
17"The throb stopped."
18"Aurora stared at her wrist,"
19"She unzipped her backpack, the"
ratio0.818
45.45% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences110
matches
0"And, somewhere, a child laughed."
ratio0.009
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount4
matches
0"The trees grew taller here, their branches weaving a canopy that blocked what little starlight remained."
1"They stood closer together now, their gaps narrowing, as if trying to form a circle."
2"The pendant in her bag *screamed*, a high-pitched whine that made her ears bleed."
3"She grabbed a stone, her fingers scraping, but it crumbled in her hand, turning to dust."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount3
matches
0"Eva had, eyes distant, before passing out on Aurora’s couch"
1"she whispered, though her voice was a squeak"
2"she whispered, her voice breaking"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount5
fancyTags
0"Eva had (have)"
1"She’d (would)"
2"she breathed (breathe)"
3"she whispered (whisper)"
4"she whispered (whisper)"
dialogueSentences11
tagDensity0.455
leniency0.909
rawRatio1
effectiveRatio0.909
76.1756%