Run: 2026-02-24-01KJ8V1J6WB3DFMD3647CWPN1X

Run Details

Model:
Aion 2.0
Duration:
1m 9s
Cost:
$0.007699
Provider:
AionLabs

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 third standing stone was warm. Rory’s fingers lingered on the rough, moss-clad surface. Not sun-warmth. This close to midnight, in the heart of Richmond Park, the ancient oak should have been cold as bone. The heat seeped into her skin, a deep, living pulse that matched the rhythm against her sternum. The Heartstone pendant glowed, a faint crimson ember in the dark. It had led her here, its gentle warmth turning insistent the moment she’d slipped past the park’s boundary fence. Now, nestled under her jumper, it felt like a second heartbeat. A warning. She pulled her hand back. The grove waited. It was a perfect circle, carved from the world. Nine vast standing stones of blackened oak formed a silent ring. Between them, wildflowers bloomed in impossible defiance of the season—foxgloves stood tall and white like skeletal fingers, and night-scented stock released a cloying, sweet perfume that didn’t quite mask the underlying scent of damp earth and something else. Something metallic. *Time moves differently here.* The thought came unbidden, a fragment from the research she’d scrawled in her notebook. An hour inside could be minutes or days outside. She’d checked her phone after passing the first stone. No signal. The clock had frozen at 11:47 PM. A twig snapped. Rory spun, her torch beam cutting a frantic path across the clearing. Nothing. Just the sway of long grass, the dance of shadows between the trunks of the surrounding trees. Richmond Park was never truly silent, but the usual chorus of night creatures—the hoot of owls, the rustle of foxes—was absent. The silence here was a thick, smothering blanket. She forced a slow breath. *Cool-headed. Think.* She’d come because of the dreams. Visions of this place, of the stones, and a voice that wasn’t a voice, more a pressure in her skull, whispering a single word: *Malphora.* An alias from her own file. Someone, or something, knew her. Knew names she hadn’t used in years. The pendant was the only tangible clue, a gift left in her flat with a note containing a map to this grid reference. No signature. Another sound. Not a snap this time. A scrape. Like stone dragging over stone. It came from her left. She swung the torch. The beam illuminated the fifth standing stone. Nothing out of place. Then she saw it. The wildflowers at the base of the stone were moving. Not from the wind. There was no wind. The white petals of the foxgloves trembled, then began to curl inward, blackening at the edges as if touched by an invisible flame. A soft, sizzling whisper reached her ears. The pendant throbbed, a sudden spike of heat that made her gasp. She took a step back, her heel sinking into soft mulch. The torch beam wavered. At the edge of the light, between stone four and stone five, a shadow detached itself from the greater darkness. It was man-shaped, but wrong. Too tall, too thin, its limbs jointed at severe, impossible angles. It didn’t walk. It unfolded, a series of jerky, stuttering movements that carried it a few feet into the ring before it paused, a silhouette cut from the night. Rory’s mouth went dry. She killed the torch. Darkness crashed in, absolute and choking. The after-image of the figure burned in her vision. She crouched low, one hand pressed over the pendant to mute its glow, the other gripping the cool plastic of the torch like a weapon. Seconds bled into minutes. The only sound was the frantic drum of her own heart. The metallic smell grew stronger, coating her tongue. Iron. Blood. A laugh echoed through the grove. It was a beautiful sound, high and clear, like bells. It held no mirth. It was the sound of ice cracking over deep water. It came from everywhere and nowhere, bouncing off the stones, disorienting her. “Laila.” The voice was inside her head. A silken thread drawn through her thoughts. It used the old name, the one from Cardiff, the one Evan had whispered like a curse. “Show yourself.” Her own voice sounded small, swallowed by the grove. “We are.” The plural. Spoken with a child’s curiosity. Rory’s eyes strained against the dark. Shapes resolved. Not one, but several of the tall, thin shadows now stood at irregular intervals around the stone circle. They were perfectly still, watching her with unseen eyes. The flowers were all dying now. A wave of decay spread out from the centre of the clearing, petals withering to ash, stems collapsing into grey dust. The sweet perfume vanished, replaced by the stench of rot and that persistent, coppery tang. The pendant was burning hot. She fumbled with the chain, pulling it out from under her jumper. The crimson gem shone with its own bloody light, pulsing faster and faster, painting the nearest stones in brief, lurid flashes. In the strobing light, she saw them clearly. They wore tattered remnants of clothing that might have been centuries old. Their skin was the colour of old parchment, stretched taut over elongated skulls. They had no eyes, just smooth, dark hollows. But they were smiling. Wide, lipless gashes filled with needle-sharp points. One of them took a step forward. Its movement was a flicker, a jump-cut in reality. One moment it was ten yards away, the next it was five. Rory stumbled back, her shoulder hitting the warm surface of the third stone. The contact sent a jolt through her, a shock of vertigo. The world tilted. The stars overhead smeared into long, luminous streaks. Time was unspooling, speeding up or slowing down, she couldn’t tell. “You carry a key,” the chorus of voices whispered in her mind. “A little key to a little door. We have waited for the key.” They were talking about the pendant. The Hel portal. It wasn’t just a detector. It was a key. Another flicker. The lead creature was three yards away now. She could smell it—dry leaves, cold soil, and that iron-rich blood-smell. Its head cocked to one side, a bird-like gesture of inquiry. “Give it,” the voices sighed, a sound like wind through a crypt. Her fingers closed around the Heartstone. The heat was nearly unbearable. A part of her, the cool-headed part that had survived Evan, that navigated London’s hidden edges, screamed a warning. *If it’s a key, then it opens something. What’s on the other side?* She looked from the advancing figure to the stone at her back. The warm stone. In her research, boundaries were places of power. Thresholds. With a gritted teeth, she shoved away from the stone, not deeper into the circle, but towards the gap between the third and fourth monoliths. The way she’d come in. The laughter returned, sharper now, tinged with annoyance. “No exit that way, little key. Not for you. Not anymore.” The space between the stones, which should have shown the dark outline of the park beyond, shimmered. The air thickened, became opaque, like looking through murky water. She saw trees, but they were twisted parodies of the oaks outside, their branches clawing at a bruised purple sky. Not an exit. Another threshold. A different door. A cold, dry hand closed around her wrist. The touch was electric, a jolt of numbness that shot up her arm. She cried out, yanking back, but the grip was iron. The creature’s smile widened, inches from her face. Up close, she saw its teeth weren’t white, but a dull, stained ivory. Its breath smelled of open graves. The pendant flared, a blinding crimson explosion of light that seared her vision. The creature shrieked, a sound of pure agony that split the night. Its grip loosened for a fraction of a second. Rory tore her arm free and ran. Not for the shimmering, false exit. Not deeper into the circle. She ran for the centre of the grove, where the flowers were now a circle of ash. The creatures flickered around her, their movements frantic, disorganised by the sudden light. She felt a swipe of cold air as a clawed hand missed her hair. The centre was just bare, packed earth. In its middle, she saw it—a faint, jagged line in the soil, glowing with the same sickly purple light as the twisted sky in the false exit. A crack. It pulsed in time with the dying light of her pendant. The key and the lock. The chorus in her mind became a deafening roar of hunger and anticipation. They were all around her, closing the circle, their forms bleeding together into a wall of shadow and teeth. Rory skidded to a halt at the edge of the crack. The heat from the pendant was gone, replaced by a deep, gravitational cold that pulled at the very core of her. The crack widened, a inch, then two. From its depths, a sound emerged—a vast, distant rushing, like a subterranean river, and beneath that, a low, rhythmic pounding. A heartbeat. She looked down. The crack was no longer just in the earth. It was in everything. The world was splitting along a seam, and she was standing right on top of it. The things from the stones reached for her, their whispers now commands, their smiles now hungry rictus grins. The ground beneath her feet gave way.
created_at"2026-02-24T22:06:48.041Z" 2/24/2026, 10:06:48 PM
model"aion-labs/aion-2.0-20260223"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3040
moderation_latency(null)
generation_time69316
tokens_prompt4560
tokens_completion3085
native_tokens_prompt4248
native_tokens_completion2688
native_tokens_completion_images(null)
native_tokens_reasoning729
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"
usage0.0076992
router(null)
provider_responses
0
endpoint_id"1e93b0bb-eb0f-49bc-8fda-947105413b86"
id"33686dc5-3448-482c-a853-6838558e5aa8"
is_byokfalse
latency98
model_permaslug"aion-labs/aion-2.0-20260223"
provider_name"AionLabs"
status200
api_type"completions"
id"gen-1771970808-RZRiJg5yzygRZQyKOrTR"
upstream_id"33686dc5-3448-482c-a853-6838558e5aa8"
total_cost0.0076992
cache_discount(null)
upstream_inference_cost0
provider_name"AionLabs"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences7
tagDensity0.429
leniency0.857
rawRatio0
effectiveRatio0
90.36% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1556
totalAiIsmAdverbs3
found
0
adverb"truly"
count1
1
adverb"perfectly"
count1
2
adverb"very"
count1
highlights
0"truly"
1"perfectly"
2"very"
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)
19.67% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1556
totalAiIsms25
found
0
word"warmth"
count2
1
word"pulse"
count1
2
word"perfect"
count1
3
word"dance"
count1
4
word"silence"
count1
5
word"tangible"
count1
6
word"trembled"
count1
7
word"whisper"
count1
8
word"throbbed"
count1
9
word"wavered"
count1
10
word"echoed"
count1
11
word"resolved"
count1
12
word"flicker"
count2
13
word"navigated"
count1
14
word"tinged"
count1
15
word"shimmered"
count1
16
word"electric"
count1
17
word"flickered"
count1
18
word"pulsed"
count1
19
word"anticipation"
count1
20
word"depths"
count1
21
word"rhythmic"
count1
22
word"pounding"
count1
highlights
0"warmth"
1"pulse"
2"perfect"
3"dance"
4"silence"
5"tangible"
6"trembled"
7"whisper"
8"throbbed"
9"wavered"
10"echoed"
11"resolved"
12"flicker"
13"navigated"
14"tinged"
15"shimmered"
16"electric"
17"flickered"
18"pulsed"
19"anticipation"
20"depths"
21"rhythmic"
22"pounding"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"sent a shiver through"
count1
highlights
0"sent a jolt through"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences164
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences164
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences167
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords20
totalWords1550
ratio0.013
matches
0"Time moves differently here."
1"Cool-headed. Think."
2"Malphora."
3"If it’s a key, then it opens something. What’s on the other side?"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions19
wordCount1515
uniqueNames9
maxNameDensity0.46
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Rory"
discoveredNames
Richmond2
Park2
Heartstone2
Cardiff1
Evan2
Spoken1
Hel1
London1
Rory7
persons
0"Evan"
1"Rory"
places
0"Richmond"
1"Park"
2"Cardiff"
3"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences107
glossingSentenceCount2
matches
0"felt like a second heartbeat"
1"quite mask the underlying scent of damp earth and something else"
70.97% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.29
wordCount1550
matches
0"Not one, but several of the tall, thin shadows now stood at irregular int"
1"not deeper into the circle, but towards the gap between the third"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences167
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean27.19
std18.93
cv0.696
sampleLengths
06
146
243
38
460
54
641
73
859
97
1074
1114
1220
1352
1412
1535
1645
178
1840
1925
206
2136
221
2330
2411
259
2635
2742
2838
298
3044
3128
3246
3325
3418
3532
3612
3743
3824
3930
408
4111
4247
438
448
4550
4613
4721
487
4955
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences164
matches
0"was gone"
52.51% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs226
matches
0"was burning"
1"was unspooling"
2"were talking"
3"was splitting"
4"was standing"
57.31% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount0
flaggedSentences5
totalSentences167
ratio0.03
matches
0"Between them, wildflowers bloomed in impossible defiance of the season—foxgloves stood tall and white like skeletal fingers, and night-scented stock released a cloying, sweet perfume that didn’t quite mask the underlying scent of damp earth and something else."
1"Richmond Park was never truly silent, but the usual chorus of night creatures—the hoot of owls, the rustle of foxes—was absent."
2"She could smell it—dry leaves, cold soil, and that iron-rich blood-smell."
3"In its middle, she saw it—a faint, jagged line in the soil, glowing with the same sickly purple light as the twisted sky in the false exit."
4"From its depths, a sound emerged—a vast, distant rushing, like a subterranean river, and beneath that, a low, rhythmic pounding."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1531
adjectiveStacks1
stackExamples
0"vast, distant rushing, like"
adverbCount37
adverbRatio0.024167210973220117
lyAdverbCount8
lyAdverbRatio0.005225342913128674
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences167
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences167
mean9.28
std6.56
cv0.707
sampleLengths
06
18
22
319
417
511
619
711
82
95
103
119
1211
1338
142
154
1614
179
189
192
207
213
2212
231
2417
2521
268
275
281
291
306
3131
325
337
3423
352
362
375
382
395
405
414
427
434
444
4510
464
474
4823
497
41.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.31736526946107785
totalSentences167
uniqueOpeners53
68.97% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences145
matches
0"Just the sway of long"
1"Then she saw it."
2"Too tall, too thin, its"
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences145
matches
0"It had led her here,"
1"She pulled her hand back."
2"It was a perfect circle,"
3"She’d checked her phone after"
4"She forced a slow breath."
5"She’d come because of the"
6"It came from her left."
7"She swung the torch."
8"She took a step back,"
9"It was man-shaped, but wrong."
10"It didn’t walk."
11"It unfolded, a series of"
12"She killed the torch."
13"She crouched low, one hand"
14"It was a beautiful sound,"
15"It held no mirth."
16"It was the sound of"
17"It came from everywhere and"
18"It used the old name,"
19"Her own voice sounded small,"
ratio0.297
66.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount114
totalSentences145
matches
0"The third standing stone was"
1"Rory’s fingers lingered on the"
2"This close to midnight, in"
3"The heat seeped into her"
4"The Heartstone pendant glowed, a"
5"It had led her here,"
6"She pulled her hand back."
7"The grove waited."
8"It was a perfect circle,"
9"The thought came unbidden, a"
10"An hour inside could be"
11"She’d checked her phone after"
12"The clock had frozen at"
13"A twig snapped."
14"Rory spun, her torch beam"
15"Richmond Park was never truly"
16"The silence here was a"
17"She forced a slow breath."
18"She’d come because of the"
19"Visions of this place, of"
ratio0.786
68.97% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences145
matches
0"Now, nestled under her jumper,"
1"*If it’s a key, then"
ratio0.014
64.73% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences64
technicalSentenceCount7
matches
0"Between them, wildflowers bloomed in impossible defiance of the season—foxgloves stood tall and white like skeletal fingers, and night-scented stock released a …"
1"Visions of this place, of the stones, and a voice that wasn’t a voice, more a pressure in her skull, whispering a single word: *Malphora.* An alias from her own…"
2"The white petals of the foxgloves trembled, then began to curl inward, blackening at the edges as if touched by an invisible flame."
3"It unfolded, a series of jerky, stuttering movements that carried it a few feet into the ring before it paused, a silhouette cut from the night."
4"A part of her, the cool-headed part that had survived Evan, that navigated London’s hidden edges, screamed a warning."
5"The pendant flared, a blinding crimson explosion of light that seared her vision."
6"They were all around her, closing the circle, their forms bleeding together into a wall of shadow and teeth."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"voices whispered (whisper)"
1"the voices sighed (sigh)"
dialogueSentences7
tagDensity0.286
leniency0.571
rawRatio1
effectiveRatio0.571
83.1964%