Run: 2026-02-20-01KHYB885F3PWHXQXH9F8CKYHB

Run Details

Duration:
25.6s
Cost:
$0.001279
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 cat in Aurora’s arms squirms. Not the lazy, contented squirm of a tabby used to laps of warm milk, but a sharp, frayed twist—claws pricking her wrist through the fabric of her delivery jacket. She pauses, the high stone wall of Richmond Park rising to her left, its iron gates swinging closed behind her. The park’s usual night noises are muted: the distant hoot of an owl, the crinkle of a fox’s paws through leaf litter. Here, it’s *quiet*. Too quiet. Her boots crunch over gravel, not grass. She’d followed the Heartstone’s pull—faint, then a pulse, then a hot thrum against her collarbone—for three blocks, toward the east edge of Putney, where Eva’s old postcard had said *“Beware the thorned path beyond the ruined aviary.”* Eva, who’d left Cardiff with a suitcase and a warning in her voice: *“They’re coming for you, Rory. The stone. The pendant. You need to see—”* Then the signal died, and the postcard arrived three days later, postmarked with no town. Just a sketch of standing stones, a circle of oaks with branches like clawed hands. The cat meows, a sound that splits the silence. Not a regular meow. Too high, too thin. Aurora sets it down. It scurries two steps, then freezes. Its eyes—usual gold, now black—lock on the trees ahead. Between them, a sliver of light. She unzips her jacket, the pendant clinking against her skin. Deep crimson, warm as a coal, pressing hard against the chain. It hasn’t pulsed this strongly since Evan had grabbed her, his fingers crushing her wrist—the scar, thin as a crescent moon, burning. *The scar*, she thinks, and the pendant flairs, a brief fire that makes her blink. No wind, but the leaves rustle. Not the dry rattle of autumnal debris, but a slow, deliberate shifting, like a crowd murmuring. Aurora takes a step forward. The gravel gives way to grass, soft and damp. The flowers—wildflowers, bright as stained glass—burst around her: lavender, poppies, ivy. It’s midsummer, and the calendar on her phone says November. The stone circle appears. Ten oaks, their trunks thick as telegraph poles, their bark cracked and black. Carvings twist up them—snakes, not fire-breathing, but coiled, with eyes like pinholes. The Heartstone *roars*. She stumbles, catches herself on the nearest tree. The carvings glow, faint at first, then a sickly silver. A twig snaps. She spins. Nothing. Just the park, dark and vast. The cat is gone. *Stupid*, she thinks. *You’re not here for a cat. You’re here for answers.* Evan had found the pendant in her old room, the one she’d fled to after he’d broken her hand. “Some trinket from your *mystical* friends, Carter?” He’d laughed, then smashed it on the floor. It hadn’t broken. The shard had embedded in his thumb, and he’d screamed, blood seeping through his fingers like ink. *“It’s cursed,”* he’d said, voice high. *“You’re cursed.”* Then the police had come, and she’d run. The pendant had lit up then, too—brighter than it is now. And a voice, not in her head, not spoken, but felt: *“Find the Grove. It will show you the way.”* Now, the circle hums. The air tastes of iron, like rain before a storm. Aurora approaches the stones, one hand on the Heartstone. The carvings on the oak nearest her resolve into words: *To pass, you must bleed what binds you.* Bleed? She looks at her wrist. The scar, white and smooth, pulses. *Fool*, she thinks. *You came here without a plan.* A shadow moves. Not a tree’s shadow, or a bush’s. A long, lanky thing, stretching across the grass. She turns. It’s gone. The pendant slips from her fingers. It clatters to the ground, and she dives for it. The grass where it lay is black, charred. A sound—low, wet, like fabric dragging through mud—echoes from the trees. Aurora stands. The stones are closer now, the circle narrowing. Her breath comes faster, but she doesn’t run. She’s seen panic in Evan’s eyes when he thought he’d lost control. This is *calm*. The kind that comes before a landslide. The pendant rests in her palm, warm enough to burn. She presses it to her temple. Images flash: a woman’s face, pale, hair like black silk, staring at her from across a room. *“It’s a door, Rory,”* the woman says. *“To Dymas. To the things that remember.”* Then the woman is surrounded by fire, and the Heartstone cracks, revealing a shard of something red, like glass. The door? The trees groan. Aurora looks down. The pendant’s glow has intensified, a crimson flood. Her wrist burns—the scar, splitting open, oozing clear, not red. The flowers around her start to wither, petals turning to ash, but the stone circle glows brighter, the carvings screaming now, not in sound, but in *need*. *Bleed what binds you*, the stone carvings had said. Her blood drips onto the pendant. It drinks it in, a hungry gurgle. The air cracks, a thousand tiny sounds like static. The shadow returns. This time, it’s in the open. It’s not human. Not quite. Too tall, with limbs that bend the wrong way. Its skin is a patchwork of gray and purple, like rotted cloth. Its face is a void, two pinpricks of light where eyes should be. It smiles, and she sees teeth—rows upon rows, sharp as fishhooks. The pendant ignites. Aurora drops it. It rolls across the grass, carving a trail of fire. The void-monster hisses, taking a step back. The stone circle splits. Not with a bang, but a sigh. A black hole opens in the center, pulsing with a light that’s not light—cold, ancient, *hungry*. The air thickens, sweet as rotting fruit. The woman from the vision stands at the edge of the circle. She’s real now, her eyes wide, her mouth moving. *“Run,”* she says. *“It’s not a door. It’s a *hunger*.”* The void-monster roars, a sound that shakes her bones. It lunges, and Aurora runs. She doesn’t look back. The grass burns beneath her feet. The pendant races ahead, a red comet, pointing the way to whatever is coming through the hole. The woman shouts again, but the words are lost. The hole swallows them, and Aurora screams, not for herself, but for the woman who’d warned her, the friends she’d left behind, the cat that was gone and the life she could never go back to. The void-monster is closer now, its breath hot on her neck. She reaches into her jacket, pulls out the delivery knife she keeps for cutting boxes. It feels flimsy, useless. The pendant slams into her back. A shockwave, like an electric current, sends her flying into the circle. The hole is inches from her face, and she sees it now—the truth: the Heartstone isn’t a guide. It’s a *call*. The woman is in front of her, now, her hand outstretched. *“Take my hand,”* she says. *“Jump.”* Aurora takes it. The world explodes. Darkness. Silence. Then, a whisper. *Hello, Aurora.* It’s the woman’s voice, but older, deeper, like two voices speaking as one. *“You’re late.”* Aurora opens her eyes. She’s on the ground, the pendant still in her palm, now cool, now warm, as if it’s unsure. The stone circle is gone, the park quiet again. The cat lies beside her, asleep, tail twitching. Her wrist is whole. No scar, no crevice, just smooth skin. She stands, stumbles. The knife is gone. The postcard flutters from her pocket, the sketch of the stones smudged, as if water has been spilled on it. A car horn blares in the distance. A dog barks. Normal, she thinks. *This is normal.* But her heart pounds. Her hands shake. She looks over her shoulder, into the trees, into the dark. *“You’re late,”* the voice says again. And she knows. She’ll be back. And this time, the void-monster will be waiting. The chapter ends with Aurora hesitating, her hand on the park gate, as a single wildflower—crimson, perfect—blooms from the asphalt behind her.
created_at"2026-02-20T20:18:25.604Z" 2/20/2026, 8:18:25 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency510
moderation_latency(null)
generation_time25472
tokens_prompt4560
tokens_completion3326
native_tokens_prompt4498
native_tokens_completion3140
native_tokens_completion_images(null)
native_tokens_reasoning1117
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"
usage0.00127935
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"0217716187057513a96cb89bb0639877068f7507e34a86a9720e8"
is_byokfalse
latency376
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771618705-tOzps23luVmFrPejKWlY"
upstream_id"0217716187057513a96cb89bb0639877068f7507e34a86a9720e8"
total_cost0.00127935
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
88.89% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount1
adverbTags
0"the voice says again [again]"
dialogueSentences13
tagDensity0.692
leniency1
rawRatio0.111
effectiveRatio0.111
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1351
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
62.99% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1351
totalAiIsms10
found
0
word"pulse"
count1
1
word"silence"
count2
2
word"pulsed"
count1
3
word"resolve"
count1
4
word"echoes"
count1
5
word"silk"
count1
6
word"electric"
count1
7
word"whisper"
count1
8
word"perfect"
count1
highlights
0"pulse"
1"silence"
2"pulsed"
3"resolve"
4"echoes"
5"silk"
6"electric"
7"whisper"
8"perfect"
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
narrationSentences150
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences150
filterMatches(empty)
hedgeMatches
0"start 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
maxSentenceWordsSeen80
ratio0
matches(empty)
41.87% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans29
markdownWords105
totalWords1328
ratio0.079
matches
0"quiet"
1"“Beware the thorned path beyond the ruined aviary.”"
2"“They’re coming for you, Rory. The stone. The pendant. You need to see—”"
3"The scar"
4"roars"
5"Stupid"
6"You’re not here for a cat. You’re here for answers."
7"mystical"
8"“It’s cursed,”"
9"“You’re cursed.”"
10"“Find the Grove. It will show you the way.”"
11"To pass, you must bleed what binds you."
12"Fool"
13"You came here without a plan."
14"calm"
15"“It’s a door, Rory,”"
16"“To Dymas. To the things that remember.”"
17"need"
18"Bleed what binds you"
19"hungry"
20"“Run,”"
21"“It’s not a door. It’s a *hunger"
22"call"
23"“Take my hand,”"
24"“Jump.”"
25"Hello, Aurora."
26"“You’re late.”"
27"This is normal."
28"“You’re late,”"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions30
wordCount1260
uniqueNames10
maxNameDensity1.03
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Aurora"
discoveredNames
Aurora13
Richmond1
Park1
Heartstone5
Putney1
Eva2
Cardiff1
Evan3
November1
Bleed2
persons
0"Aurora"
1"Heartstone"
2"Eva"
3"Evan"
places
0"Richmond"
1"Park"
2"Cardiff"
globalScore0.984
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences91
glossingSentenceCount0
matches(empty)
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches8
per1kWords6.024
wordCount1328
matches
0"Not the lazy, contented squirm of a tabby used to laps of warm milk, but a sharp, frayed twist"
1"Not the dry rattle of autumnal debris, but a slow, deliberate shifting, like a crowd murmuring"
2"not fire-breathing, but coiled, with eyes like pinholes"
3"not in her head, not spoken, but felt: *“Find the Grove"
4"not spoken, but felt: *“Find the Grove"
5"not in sound, but in *need*"
6"Not with a bang, but a sigh"
7"not for herself, but for the woman who’d warned her, the friends she’d left behin"
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
totalParagraphs58
mean22.9
std22.25
cv0.972
sampleLengths
082
1100
242
358
457
54
646
73
813
913
1070
1131
1241
1321
143
1519
1624
1711
1840
1966
202
213
2248
239
2422
259
2650
273
2820
294
3030
3131
3214
3327
3445
3530
3639
3717
383
393
401
411
423
432
4415
454
4635
4711
487
4920
98.25% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences150
matches
0"is surrounded"
1"was gone"
2"been spilled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs200
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount18
semicolonCount0
flaggedSentences13
totalSentences153
ratio0.085
matches
0"Not the lazy, contented squirm of a tabby used to laps of warm milk, but a sharp, frayed twist—claws pricking her wrist through the fabric of her delivery jacket."
1"She’d followed the Heartstone’s pull—faint, then a pulse, then a hot thrum against her collarbone—for three blocks, toward the east edge of Putney, where Eva’s old postcard had said *“Beware the thorned path beyond the ruined aviary.”* Eva, who’d left Cardiff with a suitcase and a warning in her voice: *“They’re coming for you, Rory. The stone. The pendant. You need to see—”* Then the signal died, and the postcard arrived three days later, postmarked with no town."
2"Its eyes—usual gold, now black—lock on the trees ahead."
3"It hasn’t pulsed this strongly since Evan had grabbed her, his fingers crushing her wrist—the scar, thin as a crescent moon, burning."
4"The flowers—wildflowers, bright as stained glass—burst around her: lavender, poppies, ivy."
5"Carvings twist up them—snakes, not fire-breathing, but coiled, with eyes like pinholes."
6"The pendant had lit up then, too—brighter than it is now."
7"A sound—low, wet, like fabric dragging through mud—echoes from the trees."
8"Her wrist burns—the scar, splitting open, oozing clear, not red."
9"It smiles, and she sees teeth—rows upon rows, sharp as fishhooks."
10"A black hole opens in the center, pulsing with a light that’s not light—cold, ancient, *hungry*."
11"The hole is inches from her face, and she sees it now—the truth: the Heartstone isn’t a guide."
12"The chapter ends with Aurora hesitating, her hand on the park gate, as a single wildflower—crimson, perfect—blooms from the asphalt behind her."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1283
adjectiveStacks0
stackExamples(empty)
adverbCount29
adverbRatio0.02260327357755261
lyAdverbCount2
lyAdverbRatio0.001558846453624318
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
mean8.68
std8.31
cv0.958
sampleLengths
06
129
220
322
43
52
67
778
815
99
104
114
124
136
149
156
1610
1711
1822
1915
206
2116
225
239
2411
2510
264
2713
2812
293
308
3110
323
332
341
356
364
373
386
394
4019
4115
423
4317
446
4510
4611
4720
484
4910
40.20% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.24183006535947713
totalSentences153
uniqueOpeners37
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences136
matches
0"Just a sketch of standing"
1"Too high, too thin."
2"Just the park, dark and"
3"Then the police had come,"
4"Then the woman is surrounded"
5"Too tall, with limbs that"
6"Then, a whisper."
ratio0.051
99.41% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences136
matches
0"She pauses, the high stone"
1"Her boots crunch over gravel,"
2"She’d followed the Heartstone’s pull—faint,"
3"It scurries two steps, then"
4"Its eyes—usual gold, now black—lock"
5"She unzips her jacket, the"
6"It hasn’t pulsed this strongly"
7"It’s midsummer, and the calendar"
8"She stumbles, catches herself on"
9"*You’re not here for a"
10"You’re here for answers.*"
11"He’d laughed, then smashed it"
12"It hadn’t broken."
13"he’d said, voice high"
14"She looks at her wrist."
15"*You came here without a"
16"It clatters to the ground,"
17"Her breath comes faster, but"
18"She’s seen panic in Evan’s"
19"She presses it to her"
ratio0.301
51.91% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount111
totalSentences136
matches
0"The cat in Aurora’s arms"
1"She pauses, the high stone"
2"The park’s usual night noises"
3"Here, it’s *quiet*."
4"Her boots crunch over gravel,"
5"She’d followed the Heartstone’s pull—faint,"
6"The cat meows, a sound"
7"Aurora sets it down."
8"It scurries two steps, then"
9"Its eyes—usual gold, now black—lock"
10"She unzips her jacket, the"
11"It hasn’t pulsed this strongly"
12"*The scar*, she thinks, and"
13"Aurora takes a step forward."
14"The gravel gives way to"
15"The flowers—wildflowers, bright as stained"
16"It’s midsummer, and the calendar"
17"The stone circle appears."
18"Carvings twist up them—snakes, not"
19"The Heartstone *roars*."
ratio0.816
36.76% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences136
matches
0"Now, the circle hums."
ratio0.007
65.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount5
matches
0"It hasn’t pulsed this strongly since Evan had grabbed her, his fingers crushing her wrist—the scar, thin as a crescent moon, burning."
1"*The scar*, she thinks, and the pendant flairs, a brief fire that makes her blink."
2"A black hole opens in the center, pulsing with a light that’s not light—cold, ancient, *hungry*."
3"The void-monster roars, a sound that shakes her bones."
4"She’s on the ground, the pendant still in her palm, now cool, now warm, as if it’s unsure."
69.44% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount1
matches
0"he’d, voice high"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount2
fancyTags
0"He’d (would)"
1"he’d (would)"
dialogueSentences13
tagDensity0.462
leniency0.923
rawRatio0.333
effectiveRatio0.308
77.9424%