Run: 2026-02-24-01KJ8VXQ62QMEA3Q7M7HXG6B16

Run Details

Duration:
1m 16s
Cost:
$0.089165
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 gentle pulse she'd grown accustomed to, the one that felt like a second heartbeat nestled in the hollow of her throat. This was insistent. Demanding. The crimson stone threw ruby light across the underside of her jaw as Rory pushed through the last tangle of hawthorn and stumbled into the clearing. She'd been here once before, in daylight, when the standing oaks had seemed almost welcoming. Ancient things, thick as barrels, their bark so old and dense it had turned to something closer to stone. They ringed the grove in a wide circle, evenly spaced, their branches weaving overhead into a canopy that should have been bare for November but wasn't. Green leaves. Fat blossoms of foxglove and evening primrose spilling between the roots, filling the air with a sweetness that belonged to July. None of that was new. What was new was the silence. Richmond Park at night carried sound. Deer crashing through bracken. The distant hum of the A307. Foxes screaming their mating calls across Pen Ponds. Rory had heard all of it on the walk in, the reassuring background noise of a London that never stopped talking. She couldn't hear it now. The pendant's glow illuminated the nearest oak in stuttering red. Rory pressed her palm flat against the stone and held her breath. The Heartstone pulsed twice, hard, then went cold against her skin. Dead cold. Like pressing an ice cube to bare flesh. "Right," she whispered. Her voice didn't carry. The word dropped from her lips and fell straight down, as if the air itself had thickened into something that absorbed sound. She swallowed. Tried again, louder. "Hello?" Nothing. Not even an echo off the standing oaks, which should have bounced her voice back and forth across the thirty-metre clearing like a racquetball court. The silence didn't feel empty. It felt full. Packed tight with something she couldn't name, pressing against her eardrums until they ached. She'd come for the journal. Eva's journal, the one with the hand-drawn map of ley lines across South London and the circled location that matched this grove exactly. Eva had scribbled a note in the margin: *3am, new moon, the door opens both ways*. Tonight was a new moon. Rory had checked. She'd checked everything, mapped her route, charged her phone, told no one where she was going because there was no one left to tell who wouldn't think she'd gone mad. Her phone. She pulled it from her jacket pocket. No signal. Expected, this deep in the park. But the time display caught her eye. 3:07. She'd entered the grove at 2:58. She was certain of it because she'd checked at the last stile, and the walk from there took no more than four minutes. Nine minutes. Except she'd only been standing here for what felt like thirty seconds, maybe a minute at most. Time moves differently. Eva's words. Eva's warning, buried in the journal between sketches of symbols Rory still couldn't identify. She pocketed the phone and turned a slow circle, scanning the edge of the clearing. The standing oaks stared back. Twelve of them. She'd counted twelve last time. She counted again. Thirteen. Rory stopped. Backtracked. Started from the oak nearest the gap in the hawthorn where she'd entered and counted clockwise, pointing at each one, the way you'd count children in a schoolyard. Thirteen. One of them was wrong. One of them hadn't been here before, or shouldn't be here now, and she couldn't tell which because they all looked identical in the pendant's dead light, the same ancient grey bark, the same impossible branches, the same stillness. Except. The fourth one from the entrance. She stared at it. Blinked. Stared again. Its bark was darker than the others, or maybe the darkness between its roots was deeper, the shadows pooling there denser than shadow had any right to be. And the foxgloves growing at its base were leaning away from it. Every other cluster in the grove pointed inward, toward the centre of the clearing. These pointed out. Straining, almost, the stems bent at unnatural angles, petals trembling. There was no wind. Rory took a step back. The grass beneath her trainers made no sound. She looked down. The blades were pressed flat in a path that led from the centre of the clearing to the fourth oak, as if something heavy had been dragged, or had dragged itself, from one point to the other. The trail was fresh. The crushed grass still glistened with sap. She followed the trail with her eyes, back toward the centre of the grove. A patch of bare earth, roughly circular, maybe a metre across. She hadn't noticed it on the way in. The wildflowers that should have covered it were gone. Not trampled, not dead. Gone. Bare soil, dark and wet, and in its centre a mark she recognised from Eva's journal. A spiral. Carved or pressed into the earth by something with more precision than fingers. The pendant flared. Not warm. Not the comforting pulse of proximity to something fae. This was heat, sudden and sharp, as if the stone had been held over a flame. Rory grabbed it through her shirt and yanked it away from her skin. The crimson light strobed through the fabric, painting her hand in flashes of arterial red. Then she heard the breathing. Low. Rhythmic. Coming from behind the fourth oak. Not animal breathing. Animals panted, snorted, huffed. This was measured. Deliberate. In for four counts. Out for four counts. The breathing of something that had lungs and knew how to use them and wanted her to know it. Rory's fingers tightened around the pendant. The silver chain bit into the back of her neck. "I can hear you." The breathing stopped. Worse. The silence that replaced it had weight, had substance, filled the grove like water filling a glass. Rory's ears popped. She worked her jaw, swallowed, felt the pressure equalise and then build again, mounting, squeezing. The fourth oak moved. Not much. A shift. The kind of movement that, if you saw it from the corner of your eye, you'd dismiss as a trick of light, a branch settling, the natural sway of a tree in wind. But there was no wind, there were no tricks, and Rory wasn't looking from the corner of her eye. She faced it dead on, and she watched its trunk rotate, just two or three degrees, like a head turning to look at something. Looking at her. She should run. The logical part of her brain, the part that had aced every exam and argued every mock trial and navigated every back road of Cardiff in the dark, that part screamed at her to move, to get back through the hawthorn and across the park to the car park where her bicycle waited under a functioning streetlamp like a beacon of the rational world. Her legs disagreed. Her legs had turned to something cold and rigid from the knees down, and the ground beneath her feet had gone soft, yielding, the grass sinking under her weight as if the earth itself had opened its mouth. The pendant went dark. Total darkness. The kind that doesn't exist in London, that can't exist when there are ten million people throwing light at the sky from every direction. But the canopy overhead had sealed, leaves knitting together so tightly that not a single photon of ambient light filtered through, and Rory stood in a blackness so complete she couldn't see her own hand pressed against her chest. She heard something step out from behind the fourth oak. One footfall. Soft. Bare skin on wet earth. Then another. Then a third, and a fourth, and they weren't following a bipedal rhythm. Too many steps, too close together, the sound of something with more limbs than it should have crossing the grove toward her. Rory found her voice. "Stay back." The footsteps paused. Somewhere in the dark, close now, close enough that she felt the air displace, something exhaled. The breath washed over her face. It smelled of turned soil and copper and something beneath both of those, something sweet and rotten that coated the back of her tongue. Then a voice, if it could be called a voice, more a vibration in her jaw, in her teeth, in the soft palate of her mouth, as if the words originated inside her own skull. "You brought the stone." Not a question. "You opened the door." Also not a question. Rory's left wrist throbbed. The crescent scar, the one she'd had since she was seven, since the garden shears and the trip to A&E and the eight stitches her mother had counted while her father argued with the nurse. It burned with a cold that sank into the bone. Something touched her face. Not fingers. Too many points of contact, too smooth, tracing the line of her jaw with a delicacy that spoke of fascination rather than malice. It mapped her features the way a blind person reads Braille, moving from jawline to cheekbone to the bridge of her nose, lingering at the corners of her eyes. "Brendan's daughter." The name of her father, spoken in that boneless voice, hit her like a slap. Rory jerked back. Her feet came free of the softened earth with a wet sucking sound, and she stumbled, caught herself, and the pendant blazed back to life. Red light flooded the grove. The thing stood three metres from her. Tall, taller than the standing oaks, folded in on itself to fit beneath the canopy, limbs like branches, too many of them, jointed in all the wrong places. Its skin, if skin it was, had the same grey-stone texture as the oaks, but beneath it something pulsed, something that matched the rhythm of the pendant, something with its own red light that seeped through cracks in the bark like magma through cooling basalt. It had no face. Where a face should have been, the bark spiralled inward, a tight whorl like a fingerprint or the mark in the centre of the clearing, and at its deepest point, a single opening that might have been a mouth. The mouth moved. "The door opens both ways, little Carter." Rory's hand shot to her back pocket. Her fingers closed around Eva's journal, the leather cover soft and warm as living skin. Behind her, the hawthorn gap had sealed shut.
created_at"2026-02-24T22:22:10.651Z" 2/24/2026, 10:22:10 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1747
moderation_latency190
generation_time75462
tokens_prompt4560
tokens_completion2818
native_tokens_prompt4658
native_tokens_completion2635
native_tokens_completion_images(null)
native_tokens_reasoning212
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"
usage0.089165
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"5fe1eb48-6a1f-455c-acaa-46c380385f95"
is_byokfalse
latency1588
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771971730-0tFclNnCinxMLq4PxzBz"
upstream_id"5fe1eb48-6a1f-455c-acaa-46c380385f95"
total_cost0.089165
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)
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
97.14% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1750
totalAiIsmAdverbs1
found
0
adverb"tightly"
count1
highlights
0"tightly"
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)
40.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1750
totalAiIsms21
found
0
word"pulse"
count2
1
word"silence"
count3
2
word"pulsed"
count2
3
word"echo"
count1
4
word"charged"
count1
5
word"scanning"
count1
6
word"comforting"
count1
7
word"rhythmic"
count1
8
word"measured"
count1
9
word"weight"
count2
10
word"navigated"
count1
11
word"beacon"
count1
12
word"footfall"
count1
13
word"footsteps"
count1
14
word"throbbed"
count1
15
word"tracing"
count1
highlights
0"pulse"
1"silence"
2"pulsed"
3"echo"
4"charged"
5"scanning"
6"comforting"
7"rhythmic"
8"measured"
9"weight"
10"navigated"
11"beacon"
12"footfall"
13"footsteps"
14"throbbed"
15"tracing"
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
narrationSentences164
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences164
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences171
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen64
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords8
totalWords1750
ratio0.005
matches
0"3am, new moon, the door opens both ways"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions37
wordCount1725
uniqueNames13
maxNameDensity0.93
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Rory16
November1
July1
Park1
Pen1
Ponds1
London3
Heartstone1
South1
Eva6
Cardiff1
Braille1
One3
persons
0"Rory"
1"Eva"
2"Braille"
places
0"July"
1"Park"
2"Pen"
3"London"
4"South"
5"Cardiff"
6"One"
globalScore1
windowScore1
89.76% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences83
glossingSentenceCount2
matches
0"felt like a second heartbeat nestled in"
1"felt like thirty seconds, maybe a minut"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1750
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences171
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs64
mean27.34
std27.09
cv0.991
sampleLengths
059
183
25
36
445
55
643
73
831
91
1048
1182
129
1364
143
1544
163
171
1831
191
2044
211
2280
234
2464
2578
263
2755
285
298
3038
3116
324
333
3436
354
3680
373
3867
3941
404
4165
4210
4345
444
452
4649
4735
484
493
96.71% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences164
matches
0"been dragged"
1"were gone"
2"been held"
3"was, had"
97.83% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs261
matches
0"was going"
1"were leaning"
2"wasn't looking"
3"weren't following"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences171
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1728
adjectiveStacks1
stackExamples
0"same ancient grey bark,"
adverbCount58
adverbRatio0.03356481481481482
lyAdverbCount7
lyAdverbRatio0.004050925925925926
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences171
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences171
mean10.23
std10.79
cv1.054
sampleLengths
06
123
23
31
426
515
619
726
82
921
105
116
126
134
146
158
1621
175
1810
1912
2011
212
228
233
244
2522
262
273
281
291
3025
315
323
3314
345
3523
3616
375
383
3930
402
417
422
436
447
451
466
4723
482
4917
65.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.4294117647058823
totalSentences170
uniqueOpeners73
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences132
matches
0"Then she heard the breathing."
1"Then a third, and a"
2"Too many steps, too close"
3"Somewhere in the dark, close"
4"Then a voice, if it"
5"Also not a question."
6"Too many points of contact,"
ratio0.053
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences132
matches
0"She'd been here once before,"
1"They ringed the grove in"
2"She couldn't hear it now."
3"Her voice didn't carry."
4"It felt full."
5"She'd come for the journal."
6"She'd checked everything, mapped her"
7"She pulled it from her"
8"She'd entered the grove at"
9"She was certain of it"
10"She pocketed the phone and"
11"She'd counted twelve last time."
12"She counted again."
13"She stared at it."
14"Its bark was darker than"
15"She looked down."
16"She followed the trail with"
17"She hadn't noticed it on"
18"She worked her jaw, swallowed,"
19"She faced it dead on,"
ratio0.235
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount89
totalSentences132
matches
0"The pendant burned against her"
1"This was insistent."
2"The crimson stone threw ruby"
3"She'd been here once before,"
4"They ringed the grove in"
5"None of that was new."
6"Richmond Park at night carried"
7"Deer crashing through bracken."
8"The distant hum of the"
9"Foxes screaming their mating calls"
10"Rory had heard all of"
11"She couldn't hear it now."
12"The pendant's glow illuminated the"
13"Rory pressed her palm flat"
14"The Heartstone pulsed twice, hard,"
15"Her voice didn't carry."
16"The word dropped from her"
17"The silence didn't feel empty."
18"It felt full."
19"She'd come for the journal."
ratio0.674
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences132
matches(empty)
ratio0
2.34% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount12
matches
0"Fat blossoms of foxglove and evening primrose spilling between the roots, filling the air with a sweetness that belonged to July."
1"The word dropped from her lips and fell straight down, as if the air itself had thickened into something that absorbed sound."
2"Not even an echo off the standing oaks, which should have bounced her voice back and forth across the thirty-metre clearing like a racquetball court."
3"Eva's journal, the one with the hand-drawn map of ley lines across South London and the circled location that matched this grove exactly."
4"The blades were pressed flat in a path that led from the centre of the clearing to the fourth oak, as if something heavy had been dragged, or had dragged itself…"
5"The logical part of her brain, the part that had aced every exam and argued every mock trial and navigated every back road of Cardiff in the dark, that part scr…"
6"Her legs had turned to something cold and rigid from the knees down, and the ground beneath her feet had gone soft, yielding, the grass sinking under her weight…"
7"Then a voice, if it could be called a voice, more a vibration in her jaw, in her teeth, in the soft palate of her mouth, as if the words originated inside her o…"
8"Too many points of contact, too smooth, tracing the line of her jaw with a delicacy that spoke of fascination rather than malice."
9"It mapped her features the way a blind person reads Braille, moving from jawline to cheekbone to the bridge of her nose, lingering at the corners of her eyes."
10"Its skin, if skin it was, had the same grey-stone texture as the oaks, but beneath it something pulsed, something that matched the rhythm of the pendant, someth…"
11"Where a face should have been, the bark spiralled inward, a tight whorl like a fingerprint or the mark in the centre of the clearing, and at its deepest point, …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio1
effectiveRatio0.25
86.9292%