Run: 2026-02-24-01KJ8W1ZWQKS7MTD8J2H1Y8R4P

Run Details

Duration:
1m 3s
Cost:
$0.083765
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 faint warmth Rory had grown accustomed to, the low thrum like a second heartbeat she could ignore on busy days. This was insistent. A coal pressed to skin through the thin cotton of her shirt. She pressed her palm flat against it and felt the Heartstone pulse, twice, three times, then hold a sustained heat that made her fingers tingle. The crimson gem threw light through the gaps between her knuckles, painting the underside of her jaw red. Richmond Park stretched around her in every direction, black and featureless past the reach of her phone's torch. She'd left her bicycle chained to the Sheen Gate and walked the rest, following a route she'd memorised from a hand-drawn map Eva had sketched on the back of a Golden Empress napkin. Third oak past the fallen birch. Left at the stream bed. Straight on until the grass stops feeling like grass. Eva hadn't explained that last instruction. She hadn't needed to. The ground beneath Rory's trainers shifted from damp earth to something drier, spongier, like peat compressed over centuries. Each step made no sound. Not muffled sound, not quiet sound. No sound at all, as though her footfalls landed in a substance that refused to participate in physics. She stopped walking. The torch beam found the first standing stone about four metres ahead, its surface not stone at all but petrified oak, grey and ridged with the ghost-memory of bark. It stood taller than her by half, leaning slightly inward like a drunk usher guiding her toward the aisle. Beyond it, barely visible, a second stone. And past that, the suggestion of a third, curving away into the dark. The boundary of the Grove. Rory released the pendant and let it fall back against her chest. The heat had dimmed to a manageable throb. She could feel the crescent scar on her left wrist itching, the way it always did when her body registered a threat before her mind caught up. Childhood reflex. Old wiring. She stepped between the first two stones. The air changed. Not temperature, not humidity, something less measurable. Density, perhaps. As though the atmosphere inside the ring carried more weight per cubic inch, pressed against her eardrums with the sluggish pressure of deep water. Wildflowers carpeted the ground, which should have been impossible in November. Bluebells. Foxglove. Something white and clustered she couldn't name, luminous even without direct light, as if each petal had swallowed a thimbleful of moonlight and refused to give it back. She had come here for the map. A folded slip of vellum Eva claimed Isolde had left pinned beneath a stone near the Grove's centre, containing directions to a second portal, one that opened into Hel from the mortal side. Eva had been specific: go at night, go alone, retrieve it, leave. Don't wander. Don't speak to anything that speaks first. Rory swept the torch in a slow arc. The beam caught stone after stone, twelve in total, forming a rough circle perhaps twenty metres across. The centre held nothing but flowers and a single flat rock the size of a dinner table, half-buried in the ground. She moved toward it. Halfway there, her phone flickered. The torch cut out for a fraction of a second, less than a blink, and when it returned, the beam had narrowed to a tight cone that reached barely a metre ahead. She tapped the screen. Full battery. Full brightness. The light just stopped cooperating past a certain distance, as if the dark had learned to push back. Fine. She'd work with what she had. The flat rock was smooth on top, worn by something more deliberate than weather. Rory crouched beside it and ran her fingers along the edge. Cold. Damp. Her fingertips found a gap between the stone and the earth, wide enough to slip her hand into up to the wrist. She pulled out a fistful of soil, then another. Nothing. She circled the rock, probing the gap on every side. More soil. Roots. The papery husk of a dead beetle. No vellum. No map. Rory sat back on her heels and wiped her hands on her jeans. The Heartstone pulsed once, hard, like a warning tap on the shoulder. Then she heard it. A footstep. Behind her, outside the ring, in the absolute dark where her torchlight refused to reach. Not a fox's skitter or a deer's careful placing. A deliberate, bipedal step, heel to toe, on that soundless peat. She heard it because whatever made it wanted her to hear it. She held still. Fourteen seconds of silence. She counted. Another step. Closer. To her left now, which meant it had moved laterally without a sound between the two audible footfalls. Covering five, six metres in the space of a held breath. "Isolde?" Her own voice came back to her wrong. Flat. Absorbed by the air before it reached the tree line, as though the Grove had cupped a hand over her mouth after the word escaped. She tasted copper on her tongue. Not blood. Something older, mineral, like licking a coin fished from a Roman well. No reply. Rory stood and turned a full circle, the narrow torch beam sweeping the perimeter stones. Each one stood where it had been. Nothing moved between them. The flowers didn't stir. Not even a breeze to account for the sound. But. The ninth stone, the one she'd mentally tagged as the tallest, the one leaning most sharply inward, had gained a shadow. A vertical dark stripe running down its left side, too straight and too narrow to be cast by the stone's own irregular shape. Like something stood behind it. Something thin. She locked the torch on it. The shadow didn't move. Didn't breathe. Didn't have the subtle sway of a living body holding artificially still. It simply existed where it hadn't existed before, and it was shaped, she realised with a slow tightening in her chest, exactly like a person standing in profile. The Heartstone flared. Heat bloomed across her neck and sternum, sharp enough to make her flinch. The pendant's crimson glow escaped past her collar and threw a red cast across the nearest flowers, turning the bluebells the colour of bruises. She took a step backward. Her heel caught a root. The shadow twitched. Not a startled twitch. Not the involuntary shudder of a creature caught staring. It moved with the boneless, segmented articulation of a finger uncurling, one joint at a time, starting from what should have been its feet and rolling upward through the torso to the head, which, she now saw, was angled toward her. Had been angled toward her the entire time. Rory stopped breathing. Old instinct, prey-brain logic, the part of her cortex that predated language and electricity and the comfortable fiction that humans sat at the top of any meaningful chain. Something in the dark was watching her with the calm attention of a predator that had already eaten. She found her breath. Forced it out. In again. "Right," she whispered. She backed toward the gap between the first two stones, the ones she'd entered through. Three steps. Four. The shadow remained where it was, attached to the ninth stone, motionless again, as though the twitch had been a glitch in reality, a single dropped frame. Five steps. Her heel found the boundary. The air thickened, pushing against her shoulders like wading into a current. One more step and she'd be outside the ring, back on the peat, back in the park. Cold mundane November Richmond Park with its foxes and deer and absolute absence of things that unfolded like origami in the dark. Six steps. The torch died. Not a flicker. Not a stutter. The screen went black, the torch went black, and the only light in the Grove was the red pulse of the Heartstone, throbbing against her chest like a fist knocking on a door from the wrong side. In that crimson half-light, she saw them. Not one shadow. Twelve. One behind each standing stone, each one angled toward her, each one mid-twitch in that same rolling, jointless motion, uncurling from the ground up like dark ferns responding to a sun only they could see. The one nearest to her, the shadow behind the first stone, the stone she needed to pass through to leave, opened its mouth. Not a mouth. A gap. An absence shaped like speech, a rectangular void in the place a face should have been, and from it came a sound that was not a voice but the memory of one, played backward through waterlogged wood. It said her name. Not Rory. Not Aurora. "Laila." The name Eva had given her, the false name, the one printed on the fake ID she'd used to rent the flat above Silas's bar. The name no one in the Grove should know. The name she had whispered to exactly one person, in exactly one place, three weeks ago. The shadows stopped uncurling. All twelve, frozen mid-motion, heads tilted at identical angles, mouths open, waiting. The Heartstone went cold.
created_at"2026-02-24T22:24:30.63Z" 2/24/2026, 10:24:30 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1694
moderation_latency135
generation_time62729
tokens_prompt4560
tokens_completion2553
native_tokens_prompt4658
native_tokens_completion2419
native_tokens_completion_images(null)
native_tokens_reasoning279
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"
usage0.083765
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"2b2398f1-7093-424d-92ab-701c6d231b2c"
is_byokfalse
latency1604
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771971870-DKc2wgthZ2pyLFvTCzDT"
upstream_id"2b2398f1-7093-424d-92ab-701c6d231b2c"
total_cost0.083765
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)
dialogueSentences3
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
93.44% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1525
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"sharply"
count1
highlights
0"slightly"
1"sharply"
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)
60.66% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1525
totalAiIsms12
found
0
word"warmth"
count1
1
word"pulse"
count2
2
word"throb"
count1
3
word"could feel"
count1
4
word"weight"
count1
5
word"flickered"
count1
6
word"pulsed"
count1
7
word"silence"
count1
8
word"comfortable"
count1
9
word"predator"
count1
10
word"flicker"
count1
highlights
0"warmth"
1"pulse"
2"throb"
3"could feel"
4"weight"
5"flickered"
6"pulsed"
7"silence"
8"comfortable"
9"predator"
10"flicker"
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
narrationSentences152
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences152
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences154
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1525
ratio0
matches(empty)
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
totalMentions39
wordCount1522
uniqueNames16
maxNameDensity0.59
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Rory"
discoveredNames
Rory9
Heartstone5
Park2
Sheen1
Gate1
Eva5
Golden1
Empress1
Grove5
November2
Isolde1
Hel1
Roman1
Richmond2
Aurora1
Silas1
persons
0"Rory"
1"Heartstone"
2"Eva"
3"Isolde"
4"Roman"
5"Silas"
places
0"Park"
1"Sheen"
2"Grove"
3"November"
4"Hel"
5"Richmond"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount0
matches(empty)
68.85% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.311
wordCount1525
matches
0"not stone at all but petrified oak, grey"
1"not a voice but the memory of one, played backward through waterlogged wood"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences154
matches
0"past that, the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean29.33
std23.54
cv0.803
sampleLengths
043
143
271
310
447
53
668
75
851
97
1077
1161
1246
139
1458
157
1659
1724
1825
194
2049
219
2232
231
2454
252
2639
271
2851
2952
3040
3110
323
3362
3449
359
363
3745
3858
392
403
4143
427
4339
4423
4542
464
474
481
4950
96.03% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences152
matches
0"was shaped"
1"was angled"
2"been angled"
3"was, attached"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs237
matches
0"was watching"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences154
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1529
adjectiveStacks1
stackExamples
0"same rolling, jointless motion,"
adverbCount49
adverbRatio0.032047089601046436
lyAdverbCount14
lyAdverbRatio0.009156311314584695
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences154
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences154
mean9.9
std9.38
cv0.948
sampleLengths
06
122
23
312
425
518
618
733
86
95
109
116
124
1318
145
156
1618
173
1829
1919
207
2113
225
2312
248
2527
262
272
287
293
307
312
3224
3311
341
351
3628
377
3833
3912
402
417
428
4317
4421
454
465
4732
484
492
58.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.3961038961038961
totalSentences154
uniqueOpeners61
28.74% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences116
matches
0"Then she heard it."
ratio0.009
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences116
matches
0"She pressed her palm flat"
1"She'd left her bicycle chained"
2"She hadn't needed to."
3"She stopped walking."
4"It stood taller than her"
5"She could feel the crescent"
6"She stepped between the first"
7"She had come here for"
8"She moved toward it."
9"She tapped the screen."
10"She'd work with what she"
11"Her fingertips found a gap"
12"She pulled out a fistful"
13"She circled the rock, probing"
14"She heard it because whatever"
15"She held still."
16"Her own voice came back"
17"She tasted copper on her"
18"She locked the torch on"
19"It simply existed where it"
ratio0.233
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences116
matches
0"The pendant burned against her"
1"This was insistent."
2"A coal pressed to skin"
3"She pressed her palm flat"
4"The crimson gem threw light"
5"Richmond Park stretched around her"
6"She'd left her bicycle chained"
7"Eva hadn't explained that last"
8"She hadn't needed to."
9"The ground beneath Rory's trainers"
10"Each step made no sound."
11"She stopped walking."
12"The torch beam found the"
13"It stood taller than her"
14"The boundary of the Grove."
15"Rory released the pendant and"
16"The heat had dimmed to"
17"She could feel the crescent"
18"She stepped between the first"
19"The air changed."
ratio0.69
86.21% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences116
matches
0"As though the atmosphere inside"
1"To her left now, which"
ratio0.017
55.14% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences57
technicalSentenceCount7
matches
0"She pressed her palm flat against it and felt the Heartstone pulse, twice, three times, then hold a sustained heat that made her fingers tingle."
1"No sound at all, as though her footfalls landed in a substance that refused to participate in physics."
2"As though the atmosphere inside the ring carried more weight per cubic inch, pressed against her eardrums with the sluggish pressure of deep water."
3"Something white and clustered she couldn't name, luminous even without direct light, as if each petal had swallowed a thimbleful of moonlight and refused to giv…"
4"Old instinct, prey-brain logic, the part of her cortex that predated language and electricity and the comfortable fiction that humans sat at the top of any mean…"
5"Something in the dark was watching her with the calm attention of a predator that had already eaten."
6"Cold mundane November Richmond Park with its foxes and deer and absolute absence of things that unfolded like origami in the dark."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences3
tagDensity0.333
leniency0.667
rawRatio1
effectiveRatio0.667
88.0429%