Run: 2026-02-24-01KJ8TZ0EGCQVEDCB7HZZ019E8

Run Details

Duration:
1m 7s
Cost:
$0.082490
Provider:
Amazon Bedrock

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 pendant pulsed against Rory's collarbone, and the warmth of it felt wrong. Not the gentle throb she'd come to expect near the standing stones, that familiar heartbeat rhythm that had guided her through Richmond Park twice before. This was erratic. Stuttering. Like something trapped behind glass, hammering to get out. She stopped at the edge of the clearing where the ancient oak stones rose from the earth in their crude circle. Thirteen of them, each the height of a child, their bark surfaces worn smooth by centuries of wind and touch and things she preferred not to name. Wildflowers carpeted the ground between them, blue and white and pale gold, swaying in a breeze that didn't exist. No wind tonight. The air hung thick and still, tasting of copper and wet soil. She'd come because of the text. Three words from an unknown number at half past midnight: *She's calling you.* Then nothing. No response when Rory rang back, just dead static and a faint sound underneath it, something that might have been breathing or might have been her own pulse in her ears. Stupid to come alone. She knew that. Eva would have said as much, would have grabbed her arm and planted herself in the doorway of their flat. But Eva slept like the dead on weeknights, mouth open, one arm flung across the pillow, and Rory hadn't wanted to explain the pendant. Hadn't wanted to explain why a piece of jewellery she couldn't remember acquiring sometimes grew warm enough to leave a mark. The crescent scar on her left wrist itched. Old habit. It always itched when she felt watched. She crossed the tree line. Inside the grove, the quality of silence changed. Not quieter, that was the thing. London at night carried its own white noise, the distant hum of the M3, foxes screaming in garden bins, the odd siren threading through Twickenham. All of that cut out the moment she passed the first standing stone, replaced by something denser. A silence with texture. The kind that pressed against her eardrums and made her jaw ache. The flowers shouldn't have been visible in this darkness. No moon tonight, cloud cover thick as wool. But each blossom held its own faint luminescence, a bluish glow that clung to the petals like frost. She'd noticed it on her first visit, asked about it, received no answer worth remembering. Twelve steps to the centre of the circle. She counted them, feeling the ground shift beneath her trainers from packed earth to something softer. Moss, perhaps. Or something pretending to be moss. The pendant's stutter quickened. "Right," she muttered. "I'm here. Whatever this is, I'm here." Nothing answered. She hadn't expected anything to. But the silence rearranged itself around her words, absorbing them the way dark water swallows a stone, without echo, without ripple, just gone. She turned a slow circle. The standing stones looked different from inside the ring. Taller, somehow. She could have sworn the nearest one had been chest-height when she'd passed it. Now it loomed above her, its bark-surface gleaming in the flower-light. And the gaps between the stones, those wide spaces she'd walked through without thinking, looked narrower. The darkness beyond them thicker. Not empty. Occupied. The thought arrived whole and unwelcome, and Rory's hand found the pendant through her jacket, pressing the crimson stone flat against her sternum. Its heat bit her palm. Something stood between the fourth and fifth stones. Not moving. Not quite visible. Just a density in the dark, a place where the gloom thickened into shape. She stared at it with the focused calm that had earned her a reputation at university, the girl who didn't flinch during fire drills, who'd talked a stranger down from a bridge in Bute Park with nothing but steady words and eye contact. She didn't flinch now. The shape didn't move. Then it did. Not towards her. Sideways. A lateral drift, smooth and weightless, like a shadow sliding along a wall when the light source shifts. It moved from the gap between stones four and five to the gap between five and six, and it didn't walk. Nothing about it suggested legs or stride or the mechanical fact of locomotion. It relocated. One gap, then the next. Then it stopped again. Her breathing stayed even. Her hands did not. "I can see you." The words landed flat in that swallowing silence, and the shape, the density, whatever it was, tilted. The suggestion of a head cocking sideways, curious or hungry, the two so close together. Behind her, a sound. Soft and organic. Not a footstep. Closer to the noise a mouth makes when it opens after being closed for a long time, lips peeling apart, the faint wet click of a tongue unsticking from a palate. She didn't turn. Couldn't decide if that was bravery or the recognition that turning her back on the thing between the stones would be worse. The pendant burned. Not warmth. Not the pleasant hum of proximity. Actual heat, the kind that meant skin damage, and she gasped and yanked her hand away from it. Through her jacket, a faint red glow seeped, the deep crimson of the Heartstone bleeding light into the grove like a wound. The flowers responded. Their soft blue luminescence shifted, cooled, dimmed. One by one, blossom by blossom, the light in them died. Starting at the edges of the circle and working inward. Concentric rings of darkness closing like a contracting iris. And the sound behind her came again, that mouth-opening sound, but wetter now. Closer. Close enough that she felt the displacement of air against the back of her neck, the way you feel someone leaning in before they touch you. "Don't." She said it with the same tone she'd used on the bridge in Bute Park. Calm. Authoritative. The voice of a woman who expected compliance. The breathing stopped. Then started again, low and rhythmic, synced to the stutter of the pendant against her chest. Inhale on pulse. Exhale between. As though whatever crouched behind her had learned the frequency and matched it, parasitic, feeding on the same signal. The flowers at her feet went dark. Total night. The kind of black that doesn't exist in cities, that humans haven't lived with since they crawled out of caves and built fires specifically to banish it. No ambient glow. No phosphorescent petals. Just Rory and the two things she couldn't see and the pendant's crimson heartbeat smearing red through her jacket like blood through gauze. She couldn't feel the ground anymore. The moss, the not-moss, whatever it had been, had gone soft beyond recognition, yielding under her weight in a way that made her stomach lurch because it felt alive. Warm and giving, like standing on flesh. The shape between the stones moved again. She couldn't see it, but she knew. Felt the geometry of the darkness rearrange. Gap six to seven. Closer to her. Circling. And the thing behind her exhaled against her ear with breath that smelled of turned earth and something sweet underneath, the cloying sweetness of flowers left too long in stagnant water, the smell of offerings gone to rot. Rory's fingers found her phone. She thumbed the torch on. The light hit the nearest standing stone and she understood why it had seemed taller. It was taller. The oak pillars had grown, or she had sunk, or both. They towered above her now, twice her height, three times, their bark surfaces split and weeping dark sap that oozed down their sides in thick rivulets. The gaps between them had sealed. No gaps anymore. A wall of ancient wood, continuous and curved, a cage of living oak that she stood inside like a specimen in a jar. Her torch swept across the sealed circle. No exit. The beam caught the sap mid-drip, amber and viscous, and inside it, suspended like insects in resin, she saw fingernails. Human ones. Dozens of them, curled and yellowed, embedded in the oozing surface of the wood. The torchlight flickered. She whipped the beam behind her. Nothing. Empty ground. Crushed flowers, their dead petals brown and curled, forming a rough circle on the ground where something had been kneeling directly behind her, close enough to touch. The impression in the flattened stems showed the shape of it. Two narrow points where knees had pressed. Two longer marks where hands, or things shaped like hands, had rested on either side. And between the knee marks, a drag line. Something trailing. A jaw, perhaps, held open and heavy, scraping the earth as it moved. The trail led to the sealed wall of oaks. And through it. Her phone died. The torch cut out between one heartbeat and the next, and the pendant's crimson glow surged so fiercely it shone through her jacket, through her shirt, through the skin of her chest, and for one terrible moment she looked down and saw her own ribs lit from inside, red light threading between the bones like fingers pressing through a curtain. The silence changed again. Pressurised now. The shape between the stones, inside the stones, part of the wood itself, had stopped circling. Rory felt the ground tilt beneath her, the fleshy moss shifting, reorganising, and she understood with the calm clarity of someone who has passed through fear into the arithmetic beyond it that the grove wasn't a clearing. It was a mouth. And it was closing.
created_at"2026-02-24T22:05:24.328Z" 2/24/2026, 10:05:24 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4027
moderation_latency254
generation_time67033
tokens_prompt4560
tokens_completion2554
native_tokens_prompt4658
native_tokens_completion2368
native_tokens_completion_images(null)
native_tokens_reasoning162
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"
usage0.08249
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"73872803-245d-43bd-84cb-cd928e107c27"
is_byokfalse
latency3941
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771970724-My5MmlapsSAy7LuPJXqC"
upstream_id"73872803-245d-43bd-84cb-cd928e107c27"
total_cost0.08249
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences4
tagDensity0.25
leniency0.5
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1581
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)
27.26% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1581
totalAiIsms23
found
0
word"pulsed"
count1
1
word"warmth"
count2
2
word"throb"
count1
3
word"familiar"
count1
4
word"pulse"
count2
5
word"silence"
count5
6
word"quickened"
count1
7
word"echo"
count1
8
word"loomed"
count1
9
word"gleaming"
count1
10
word"gloom"
count1
11
word"mechanical"
count1
12
word"rhythmic"
count1
13
word"weight"
count1
14
word"stomach"
count1
15
word"lurch"
count1
16
word"flickered"
count1
highlights
0"pulsed"
1"warmth"
2"throb"
3"familiar"
4"pulse"
5"silence"
6"quickened"
7"echo"
8"loomed"
9"gleaming"
10"gloom"
11"mechanical"
12"rhythmic"
13"weight"
14"stomach"
15"lurch"
16"flickered"
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
narrationSentences151
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences151
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences154
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen60
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords3
totalWords1581
ratio0.002
matches
0"She's calling you."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions20
wordCount1568
uniqueNames8
maxNameDensity0.45
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Rory"
discoveredNames
Rory7
Richmond1
Park3
Eva2
Twickenham1
Bute2
Heartstone1
Closer3
persons
0"Rory"
1"Eva"
2"Heartstone"
places
0"Richmond"
1"Park"
2"Twickenham"
3"Bute"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount1
matches
0"seemed taller"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1581
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences154
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean31.62
std25.52
cv0.807
sampleLengths
013
138
282
352
472
517
65
772
850
932
104
1110
1230
1364
141
1528
1670
174
184
193
2067
218
224
2332
2441
2525
263
2748
2840
2940
301
3125
3243
337
3458
3542
3629
3738
3810
3987
4045
413
426
4386
4412
4563
4622
4737
484
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences151
matches
0"was, tilted"
1"being closed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs229
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences154
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1574
adjectiveStacks0
stackExamples(empty)
adverbCount42
adverbRatio0.026683608640406607
lyAdverbCount3
lyAdverbRatio0.0019059720457433292
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences154
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences154
mean10.27
std9.68
cv0.943
sampleLengths
013
125
23
31
49
521
627
719
83
912
106
1115
1231
134
143
1520
1624
1721
188
192
207
215
228
236
2425
2517
264
2712
289
298
3018
3115
328
3316
342
356
364
373
387
392
405
4123
425
439
442
4514
4611
4716
485
492
64.94% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.42857142857142855
totalSentences154
uniqueOpeners66
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences127
matches
0"Just a density in the"
1"Then it did."
2"Then it stopped again."
3"Then started again, low and"
4"Just Rory and the two"
ratio0.039
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences127
matches
0"She stopped at the edge"
1"She'd come because of the"
2"She knew that."
3"It always itched when she"
4"She crossed the tree line."
5"She'd noticed it on her"
6"She counted them, feeling the"
7"She hadn't expected anything to."
8"She turned a slow circle."
9"She could have sworn the"
10"Its heat bit her palm."
11"She stared at it with"
12"She didn't flinch now."
13"It moved from the gap"
14"Her breathing stayed even."
15"Her hands did not."
16"She didn't turn."
17"Their soft blue luminescence shifted,"
18"She said it with the"
19"She couldn't feel the ground"
ratio0.22
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount72
totalSentences127
matches
0"The pendant pulsed against Rory's"
1"This was erratic."
2"She stopped at the edge"
3"Wildflowers carpeted the ground between"
4"The air hung thick and"
5"She'd come because of the"
6"She knew that."
7"Eva would have said as"
8"The crescent scar on her"
9"It always itched when she"
10"She crossed the tree line."
11"London at night carried its"
12"A silence with texture."
13"The kind that pressed against"
14"The flowers shouldn't have been"
15"She'd noticed it on her"
16"She counted them, feeling the"
17"The pendant's stutter quickened."
18"She hadn't expected anything to."
19"She turned a slow circle."
ratio0.567
78.74% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences127
matches
0"Now it loomed above her,"
1"As though whatever crouched behind"
ratio0.016
17.54% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences57
technicalSentenceCount10
matches
0"Not the gentle throb she'd come to expect near the standing stones, that familiar heartbeat rhythm that had guided her through Richmond Park twice before."
1"Wildflowers carpeted the ground between them, blue and white and pale gold, swaying in a breeze that didn't exist."
2"No response when Rory rang back, just dead static and a faint sound underneath it, something that might have been breathing or might have been her own pulse in …"
3"She stared at it with the focused calm that had earned her a reputation at university, the girl who didn't flinch during fire drills, who'd talked a stranger do…"
4"Actual heat, the kind that meant skin damage, and she gasped and yanked her hand away from it."
5"As though whatever crouched behind her had learned the frequency and matched it, parasitic, feeding on the same signal."
6"The moss, the not-moss, whatever it had been, had gone soft beyond recognition, yielding under her weight in a way that made her stomach lurch because it felt a…"
7"And the thing behind her exhaled against her ear with breath that smelled of turned earth and something sweet underneath, the cloying sweetness of flowers left …"
8"They towered above her now, twice her height, three times, their bark surfaces split and weeping dark sap that oozed down their sides in thick rivulets."
9"Rory felt the ground tilt beneath her, the fleshy moss shifting, reorganising, and she understood with the calm clarity of someone who has passed through fear i…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences4
tagDensity0.25
leniency0.5
rawRatio1
effectiveRatio0.5
89.6160%