Run: 2026-02-24-01KJ8V4ASQY1HWS8A07KHXBHVX

Run Details

Duration:
1m 13s
Cost:
$0.090015
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 burned against her collarbone. Not the familiar low pulse Rory had grown accustomed to, that faint heartbeat rhythm she could dismiss as body heat and imagination. This seared. A thumbnail-sized coal pressed to skin, insistent and alive, dragging her attention south-west through Richmond Park's ancient treeline like a dowsing rod scenting water. She adjusted the delivery bag slung over one shoulder, a reflex. She'd come straight from her shift at the Golden Empress, still smelling of sesame oil and Yu-Fei's house-special chilli paste. The last order of the night had taken her to a terraced house near the park's Sheen Gate entrance, and the pendant had flared the moment she'd stepped off her bike. That was forty minutes ago. She'd locked the bike to a railing and told herself she'd only walk for ten. The standing stones appeared between the oaks like teeth pushing through gums. Rory stopped. She'd read about the grove online, amateur folklore sites and a single academic paper from the seventies that treated it as a minor curiosity, a probable Victorian folly. The stones didn't look Victorian. They didn't look like stones at all, not up close. The grain ran vertical, fibrous, organic. Petrified oak. Each one shoulder-height and tapered to a blunt point, arranged in a rough circle around a clearing no larger than a pub garden. Wildflowers carpeted the ground between them, which made no sense in November. Bluebells, foxglove, something white and star-shaped she couldn't name. All in full bloom. All perfectly still despite the breeze that moved the canopy overhead. She stepped between two of the standing stones and the wind stopped. Not died down. Stopped. The way a television cuts to silence when someone yanks the plug. One moment the oaks creaked and whispered above her, and the next, nothing. The trees still moved, branches swaying against the overcast London sky, but no sound reached her ears. Her own breathing filled the vacuum, too loud, too close, as if the grove had cupped its hands around her and leaned in to listen. The pendant cooled. Went dead against her skin like a spent match. "Brilliant." Her voice landed flat. No echo, no carry. The word hit the air and dropped. Rory turned in a slow circle. The park beyond the stones looked wrong. Not different, not transformed, just tilted half a degree from correct. The distant amber wash of London's light pollution, which should have painted the clouds a familiar chemical orange, had shifted. Greener, somehow. The colour of old copper left in rain. She pulled her phone from her jacket pocket. No signal. The time read 11:47, the same time it had read when she'd locked her bike. The seconds counter sat frozen. She watched it for a ten count, a twenty count. The colon between the hours and minutes didn't blink. Something moved at the far edge of the clearing. Not in the clearing. Between the stones on the opposite side, in that narrow gap where the grove met the park, a shape occupied space it hadn't occupied before. Rory's eyes couldn't fix on it. The harder she looked, the further it slid toward her periphery, a dark absence that behaved less like a figure and more like a hole cut in the scene. Person-shaped. Person-sized. Motionless. "Hello?" The word fell dead again. Rory took a step back and her heel caught a root, or what she'd assumed was a root. She glanced down. A vine had curled across the ground behind her, snaking between two of the standing stones to bridge the gap she'd entered through. It hadn't been there thirty seconds ago. The leaves on it were black, not dark green, black, and they pulsed with a faint peristaltic rhythm, opening and closing like small wet mouths. She looked up. The shape between the far stones had moved closer. No, it hadn't moved. The gap had shrunk. The standing stones on that side of the circle leaned inward by a fraction, narrowing the spaces between them, and the shape now occupied more of her vision because there was simply less grove to put between them. Rory's pulse kicked against her throat. She could feel it in her temples. In her wrists. In the crescent-shaped scar on her left wrist, which ached for the first time in years, a cold bright pain like pressing a coin fresh from a freezer to bare skin. Another vine slithered across the entrance behind her. Then another. She heard them this time, a sound like someone dragging wet rope across stone. "Right." Rory reached for the pendant. Her fingers found the silver chain and followed it down to the crimson gemstone, which sat cold and inert against her chest. She wrapped her fist around it and squeezed. Nothing. No warmth, no glow, no sense of connection. The thing that had guided her here with such urgency had fallen silent the moment she'd crossed the threshold, and the realisation settled in her stomach like swallowed glass. She hadn't been guided. She'd been lured. The shape between the far stones split. Divided down its centre like a cell, and now two shapes flanked the narrowing gap, two absences, two person-sized holes in the world. They didn't move. They didn't need to. The grove was doing the moving for them. The standing stones groaned, a low geological sound, and tilted another fraction inward. The clearing contracted. Rory catalogued her options. The delivery bag held nothing useful: a portable charger, a rain jacket, two fortune cookies she'd forgotten to include with the last order. Her phone was dead. The entrance behind her was half-choked with those black vines, and more of them crept from the root systems of the petrified oaks, sliding across the wildflowers with that same hideous rope-on-stone whisper. She knelt. Pressed her palm flat to the ground between the bluebells and foxglove. Warm. The earth pulsed with the same rhythm as the black leaves, slow and deliberate, the heartbeat of something vast buried beneath the clearing. The wildflowers swayed to it now, bending toward her hand like iron filings drawn to a magnet. She felt it in her knees, her shins, her bones. A vibration too low for proper hearing, the kind that lived in the body rather than the ears. The kind that said, in a language older than words, *stay*. Rory stood. Brushed soil from her palm. Three shapes now. The third had appeared between two stones to her left, filling a gap she could have sworn was empty a moment ago. Same quality of absence. Same impossible refusal to resolve into detail when she looked directly at it. But this one was closer than the others. Close enough that she caught something at its edges, a texture, a suggestion of form. Long. Thin. Angled in a way that might have been limbs if limbs bent in the right direction. They didn't. "I can see you." The words came out steadier than she felt. The shapes didn't react. But the grove did. The wildflowers at her feet turned their faces away from her in unison, a garden of small white stars rotating on their stems like satellite dishes reorienting. The bluebells hung lower. The foxglove hoods yawned wider, revealing dark throats that went deeper than any flower should. A sound. The first real sound since she'd entered the clearing, apart from her own voice and the slither of vines. This came from below. From the warm, pulsing ground. A voice, or the memory of a voice, or the shape a voice would make if it had been buried alive and still had breath left to call out. It said her name. Not Rory. Not Aurora. Something older and heavier. A name she'd never spoken aloud, never seen written, but recognised the way she recognised her own reflection, with an animal certainty that bypassed thought entirely. *Malphora*. The sound of it rose through the soil and entered her through the soles of her boots, climbed the bones of her legs, settled at the base of her skull like fingers finding a familiar handhold. The pendant blazed. Crimson light poured between her fingers, so bright it threw her shadow across the clearing in three directions, one for each of the watching shapes. For a split second the grove lit up in its true colours: the standing stones were not stone, not petrified wood, but bone, great curved ribs jutting from the earth like the carcass of something cathedral-sized. The wildflowers were not flowers. The vines were not vines. And the shapes between the stones, caught in that brief wash of red light, had faces. The light died. Rory ran for the entrance. The vines across it reared as she approached, thick as wrists, tipped with something that caught the dim green light and glistened. She ripped the rain jacket from her bag, wrapped it around her forearm, and drove through them. They caught her shoulders, her hair, her ankles. One coiled around her left wrist and squeezed the scar and the cold pain detonated up her arm into her jaw. She tore free. The park swallowed her. Wind hit her face, sound returned in a roar, London's orange sky pressed down from above like a ceiling she'd never been so glad to see. She sprinted between the oaks, branches catching her jacket, roots snatching at her feet. Behind her the grove exhaled, a sound like a cathedral door closing, and something that was not wind brushed the back of her neck with fingers that counted her vertebrae one by one. She didn't stop until she reached the railing where her bike was locked. Her hands shook so hard the combination took four attempts. The pendant had gone cold again, dead weight on its silver chain. Rory threw her leg over the seat and pedalled north toward Sheen Road, toward streetlights and traffic and the sacred banality of a London still awake and indifferent. Her phone buzzed in her pocket. She didn't check it until she'd cleared the park, standing under a halogen lamp outside a shuttered newsagent, sweat cooling on her neck. The lock screen showed 3:12 AM. She'd entered the grove at 11:47. Over three hours, swallowed whole, compressed into what had felt like minutes. One notification. A text from a number with no caller ID. *You left before we finished, Malphora.* Something clicked against the pavement behind her, the sound of a single footstep on a surface that shouldn't echo. Rory turned. The streetlight above her head popped and went dark.
created_at"2026-02-24T22:08:18.763Z" 2/24/2026, 10:08:18 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1519
moderation_latency205
generation_time72915
tokens_prompt4560
tokens_completion2797
native_tokens_prompt4658
native_tokens_completion2669
native_tokens_completion_images(null)
native_tokens_reasoning159
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"
usage0.090015
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"807f7746-0c94-45ed-8f9d-77e4f88a68bc"
is_byokfalse
latency1443
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771970898-cz9cDg5U2CXlxUpfnMfm"
upstream_id"807f7746-0c94-45ed-8f9d-77e4f88a68bc"
total_cost0.090015
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
totalTags0
97.16% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1762
totalAiIsmAdverbs1
found
0
adverb"perfectly"
count1
highlights
0"perfectly"
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)
51.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1762
totalAiIsms17
found
0
word"familiar"
count3
1
word"pulse"
count2
2
word"silence"
count1
3
word"echo"
count2
4
word"pulsed"
count2
5
word"could feel"
count1
6
word"warmth"
count1
7
word"sense of"
count1
8
word"stomach"
count1
9
word"whisper"
count1
10
word"resolve"
count1
11
word"weight"
count1
highlights
0"familiar"
1"pulse"
2"silence"
3"echo"
4"pulsed"
5"could feel"
6"warmth"
7"sense of"
8"stomach"
9"whisper"
10"resolve"
11"weight"
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
narrationSentences160
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences160
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences164
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen38
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords8
totalWords1762
ratio0.005
matches
0"stay"
1"Malphora"
2"You left before we finished, Malphora."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1755
uniqueNames14
maxNameDensity0.74
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Rory13
Richmond1
Park1
Golden1
Empress1
Yu-Fei1
Sheen2
Gate1
Victorian2
November1
London4
Aurora1
Road1
One3
persons
0"Rory"
1"Empress"
2"Yu-Fei"
3"One"
places
0"Richmond"
1"Park"
2"Golden"
3"Sheen"
4"November"
5"London"
6"Road"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences97
glossingSentenceCount1
matches
0"felt like minutes"
86.49% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.135
wordCount1762
matches
0"not stone, not petrified wood, but bone, great curved ribs jutting from the earth like the carc"
1"not petrified wood, but bone, great curved ribs jutting from the earth like the carc"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences164
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean35.96
std32.72
cv0.91
sampleLengths
06
148
282
312
4112
512
671
712
81
915
1054
1149
129
1367
141
1581
1612
1793
1824
191
2073
217
2261
2364
2414
2580
267
2783
282
294
3062
312
3257
334
3471
353
3687
373
3873
393
4077
4135
4228
436
4447
4511
466
4721
489
98.68% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences160
matches
0"been guided"
1"been lured"
2"been buried"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs275
matches
0"was doing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences164
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1769
adjectiveStacks1
stackExamples
0"wider, revealing dark throats"
adverbCount38
adverbRatio0.02148106274731487
lyAdverbCount6
lyAdverbRatio0.0033917467495760316
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences164
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences164
mean10.74
std9.19
cv0.856
sampleLengths
06
122
22
324
411
520
631
75
815
912
102
1128
125
1310
146
152
1623
1712
189
194
2011
2112
223
231
2412
2513
2617
2725
283
299
301
314
324
337
346
357
3611
3720
382
398
408
412
4215
435
4410
459
469
474
4825
496
41.87% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3170731707317073
totalSentences164
uniqueOpeners52
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences137
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences137
matches
0"She adjusted the delivery bag"
1"She'd come straight from her"
2"She'd locked the bike to"
3"She'd read about the grove"
4"They didn't look like stones"
5"She stepped between two of"
6"Her own breathing filled the"
7"Her voice landed flat."
8"She pulled her phone from"
9"She watched it for a"
10"She glanced down."
11"It hadn't been there thirty"
12"She looked up."
13"She could feel it in"
14"She heard them this time,"
15"Her fingers found the silver"
16"She wrapped her fist around"
17"She hadn't been guided."
18"She'd been lured."
19"They didn't move."
ratio0.248
69.49% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount107
totalSentences137
matches
0"The pendant burned against her"
1"A thumbnail-sized coal pressed to"
2"She adjusted the delivery bag"
3"She'd come straight from her"
4"The last order of the"
5"That was forty minutes ago."
6"She'd locked the bike to"
7"The standing stones appeared between"
8"She'd read about the grove"
9"The stones didn't look Victorian."
10"They didn't look like stones"
11"The grain ran vertical, fibrous,"
12"Each one shoulder-height and tapered"
13"Wildflowers carpeted the ground between"
14"Bluebells, foxglove, something white and"
15"She stepped between two of"
16"The way a television cuts"
17"The trees still moved, branches"
18"Her own breathing filled the"
19"The pendant cooled."
ratio0.781
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences137
matches(empty)
ratio0
27.31% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences68
technicalSentenceCount11
matches
0"She'd read about the grove online, amateur folklore sites and a single academic paper from the seventies that treated it as a minor curiosity, a probable Victor…"
1"Her own breathing filled the vacuum, too loud, too close, as if the grove had cupped its hands around her and leaned in to listen."
2"The distant amber wash of London's light pollution, which should have painted the clouds a familiar chemical orange, had shifted."
3"In the crescent-shaped scar on her left wrist, which ached for the first time in years, a cold bright pain like pressing a coin fresh from a freezer to bare ski…"
4"Her fingers found the silver chain and followed it down to the crimson gemstone, which sat cold and inert against her chest."
5"The thing that had guided her here with such urgency had fallen silent the moment she'd crossed the threshold, and the realisation settled in her stomach like s…"
6"The foxglove hoods yawned wider, revealing dark throats that went deeper than any flower should."
7"A name she'd never spoken aloud, never seen written, but recognised the way she recognised her own reflection, with an animal certainty that bypassed thought en…"
8"The vines across it reared as she approached, thick as wrists, tipped with something that caught the dim green light and glistened."
9"Behind her the grove exhaled, a sound like a cathedral door closing, and something that was not wind brushed the back of her neck with fingers that counted her …"
10"Something clicked against the pavement behind her, the sound of a single footstep on a surface that shouldn't echo."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
85.5589%