Run: 2026-02-26-01KJCRTTSKJ7SZMYR835KCVG8B

Run Details

Model:
LFM2 24B
Duration:
39.8s
Cost:
$0.000332
Provider:
Together

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
Aurora’s boots sank into the moss as she crossed the threshold of the abandoned chapel. The air hung thick with damp earth and decay, a scent that clung to her throat like a secret. She paused, her breath fogging in the cold, and glanced at the fading light bleeding through the broken stained glass. The fragments—once vibrant, now jagged and scattered—cast fractured hues across the stone floor, as if the building itself were bleeding color into the dark. Her fingers brushed the hem of her coat, the fabric stiff with moisture. She had come here for the Heartstone, though the name felt hollow now, a relic of some forgotten ritual. The silence was wrong. Not the absence of sound, but the presence of something else—something listening. She stepped forward, her boots creaking against the floorboards, and noticed the walls. They were lined with carvings, shallow grooves that spiraled upward like veins. Some were symbols she recognized from the old texts, others were unfamiliar, jagged lines that seemed to writhe when she looked too long. Her pulse thudded in her ears. She told herself it was the wind, though the chapel stood sealed against the world. A rustle. She froze. The sound came from the nave, a soft scrape, as if something dragged itself across the stone. Her hand flew to the small knife at her belt, its blade dull from disuse. The air shifted, colder now, and she felt the weight of eyes on her skin. She turned slowly, scanning the shadows. Nothing. Just the flicker of her flashlight beam, which trembled in her grip. “Hello?” The word felt foreign, brittle. It died before it reached her lips. The beam swept the altar. There, half-buried in dust, lay the Heartstone. Its surface was smooth, obsidian-black, yet it pulsed faintly, a heartbeat beneath the skin of the rock. Aurora knelt, her knees cracking against the floor, and reached for it. The moment her fingers touched the stone, a shiver ran through her, not from fear but from recognition. It was warm, alive, and it hummed in her bones. She stood, the stone clutched in her palm, and stepped back toward the door. The threshold loomed ahead, but the light from the entrance had dimmed, as though the chapel itself were swallowing it whole. A low groan echoed from the pews, and the shadows between them seemed to stretch, elongating into shapes that weren’t quite human. She told herself it was the wind again, but the sound was too deliberate, too rhythmic. Her flashlight died. Darkness swallowed her, thick and suffocating. She fumbled for the backup battery, her fingers clumsy with panic. The moment she inserted it, the Heartstone flared, casting jagged light across the walls. The carvings glowed, their spirals twisting into something that resembled faces—dozens of them, mouths open in silent screams. Aurora staggered back, her breath catching. The faces weren’t carved; they were *grown*, as if the stone had birthed them. A whisper slithered through the air, not in words but in a sensation, a pressure behind her skull. She spun, but the chapel was empty. The stone burned in her hand, and she felt it *pulling*, drawing her toward the far wall. There, a door she hadn’t noticed before stood ajar, its frame warped and splintered. The air beyond it smelled of iron and rot, and something else—something sweet, like overripe fruit. She hesitated. The Heartstone’s pulse quickened, syncing with her own. Her fingers tightened around it. The door creaked as she pushed it open, revealing a narrow staircase descending into blackness. The steps were slick with moss, their edges lined with bones. She didn’t remember seeing them. A chill crawled up her spine, but the stone’s warmth anchored her. Halfway down, the whisper returned, louder now, a chorus of voices overlapping in a language she almost understood. Her vision blurred. The walls pulsed, the carvings now moving, shifting into symbols that hurt to look at. She stumbled, catching herself on the wall, and saw her reflection in a pool of water pooled at the bottom of the stairs. But the face staring back wasn’t hers. It was older, hollow-eyed, with skin stretched tight over sharp cheekbones. The Heartstone glowed in her hand, and for a moment, she felt its memories—fragments of a woman’s scream, a child’s laughter, the sound of a door slamming shut. The staircase ended in a chamber, its ceiling lost in darkness. The Heartstone fell from her grasp, rolling to a stop at the center of the room. The walls here were smooth, unmarked, but the air was heavier, charged. She knelt again, picking it up, and the stone’s heat intensified. A memory surged: a ritual, a circle of figures, the stone placed at the center. A chant, low and resonant. Then a scream—not hers, but something else. The sound of flesh tearing. A shadow moved. It was tall, too thin, its form flickering like a candle’s flame. Aurora’s breath hitched. The figure didn’t walk; it *flowed*, its limbs bending in ways that defied logic. It stopped a few feet away, its head tilting as if studying her. The Heartstone’s glow dimmed. The whisper returned, softer now, almost a lullaby. “You shouldn’t have come,” it said, though its voice was a thousand tones, overlapping, distorted. Aurora’s throat tightened. “Who are you?” The figure didn’t answer. Instead, it raised a hand, and the stone in her palm grew cold. A vision flooded her: the chapel, but different. The walls were alive, the carvings writhing. A woman—her ancestor, perhaps—kneeling before the stone, tears streaming down her face. The woman’s mouth moved, but no sound came. Then the stone cracked, and a voice, ancient and hungry, spoke: *“The gate must be fed.”* The vision faded. The figure stepped closer, its face now visible—features she recognized, but twisted, as if viewed through a mirror. Her own face, but older, scarred, eyes hollow. It smiled. “You’re the next,” it said. Aurora’s hand shook. The Heartstone’s weight pressed into her palm, and she felt its pull, a tide drawing her toward the chamber’s edge. The door behind her creaked, and the air grew colder. She turned, but the staircase was gone, replaced by a wall of stone. The figure advanced, its form blurring at the edges. “Run,” it whispered. But her legs wouldn’t obey. The stone’s glow dimmed, and the chamber began to collapse, the walls peeling away to reveal a void filled with eyes. They blinked, then opened, a thousand pupils reflecting her terror. The figure’s hand found her shoulder, and she felt the stone’s final pulsea surge of warmth, then silence. When she awoke, the chapel was empty. The Heartstone lay beside her, its surface now smooth, lifeless. The air smelled of rain. She didn’t remember how she got there, only that the stone was gone, and the door was sealed. But in her pocket, a single bone lay, carved with the same spirals as the carvings. The wind carried a whisper, and she knew it was waiting.
created_at"2026-02-26T10:45:17.411Z" 2/26/2026, 10:45:17 AM
model"liquid/lfm-2-24b-a2b-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency515
moderation_latency(null)
generation_time30130
tokens_prompt4560
tokens_completion1817
native_tokens_prompt4369
native_tokens_completion1677
native_tokens_completion_images(null)
native_tokens_reasoning0
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"
usage0.00033231
router(null)
provider_responses
0
endpoint_id"b5f259c3-1e77-40d6-8fa4-161cdf0e4a7c"
id"oYuednW-2j9zxn-9d3eda1fe127e516"
is_byokfalse
latency515
model_permaslug"liquid/lfm-2-24b-a2b-20260224"
provider_name"Together"
status200
api_type"completions"
id"gen-1772102717-IR8NuuhgPnwp79ePYSE1"
upstream_id"oYuednW-2j9zxn-9d3eda1fe127e516"
total_cost0.00033231
cache_discount(null)
upstream_inference_cost0
provider_name"Together"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences6
tagDensity0.833
leniency1
rawRatio0
effectiveRatio0
95.77% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1181
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1181
totalAiIsms26
found
0
word"fractured"
count1
1
word"silence"
count2
2
word"pulse"
count3
3
word"weight"
count2
4
word"scanning"
count1
5
word"flicker"
count1
6
word"trembled"
count1
7
word"pulsed"
count2
8
word"loomed"
count1
9
word"echoed"
count1
10
word"rhythmic"
count1
11
word"whisper"
count4
12
word"quickened"
count1
13
word"chill"
count1
14
word"warmth"
count2
15
word"charged"
count1
16
word"streaming"
count1
highlights
0"fractured"
1"silence"
2"pulse"
3"weight"
4"scanning"
5"flicker"
6"trembled"
7"pulsed"
8"loomed"
9"echoed"
10"rhythmic"
11"whisper"
12"quickened"
13"chill"
14"warmth"
15"charged"
16"streaming"
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
emotionTells2
narrationSentences104
matches
0"y with panic"
1"a surge of warmth"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences104
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences105
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords8
totalWords1170
ratio0.007
matches
0"grown"
1"pulling"
2"flowed"
3"“The gate must be fed.”"
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
totalMentions15
wordCount1153
uniqueNames2
maxNameDensity0.78
worstName"Heartstone"
maxWindowNameDensity1.5
worstWindowName"Heartstone"
discoveredNames
Heartstone9
Aurora6
persons
0"Heartstone"
1"Aurora"
places(empty)
globalScore1
windowScore1
55.06% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences79
glossingSentenceCount3
matches
0"lines that seemed to writhe when she looked too long"
1"quite human"
2"as if studying her"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords3.419
wordCount1170
matches
0"Not the absence of sound, but the presence of something else"
1"not from fear but from recognition"
2"not in words but in a sensation, a pressure behind her skull"
3"not hers, but something else"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences105
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs25
mean46.8
std33.78
cv0.722
sampleLengths
0110
185
22
368
413
569
673
73
869
972
1058
11105
1282
133
1454
1515
166
1768
1831
195
2055
213
2254
2356
2411
91.77% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences104
matches
0"were lined"
1"were *grown"
2"was gone"
3"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs218
matches
0"were bleeding"
1"were swallowing"
2"was waiting"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount11
semicolonCount2
flaggedSentences11
totalSentences105
ratio0.105
matches
0"The fragments—once vibrant, now jagged and scattered—cast fractured hues across the stone floor, as if the building itself were bleeding color into the dark."
1"Not the absence of sound, but the presence of something else—something listening."
2"The carvings glowed, their spirals twisting into something that resembled faces—dozens of them, mouths open in silent screams."
3"The faces weren’t carved; they were *grown*, as if the stone had birthed them."
4"The air beyond it smelled of iron and rot, and something else—something sweet, like overripe fruit."
5"The Heartstone glowed in her hand, and for a moment, she felt its memories—fragments of a woman’s scream, a child’s laughter, the sound of a door slamming shut."
6"Then a scream—not hers, but something else."
7"The figure didn’t walk; it *flowed*, its limbs bending in ways that defied logic."
8"A woman—her ancestor, perhaps—kneeling before the stone, tears streaming down her face."
9"The figure stepped closer, its face now visible—features she recognized, but twisted, as if viewed through a mirror."
10"The figure’s hand found her shoulder, and she felt the stone’s final pulse—a surge of warmth, then silence."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1167
adjectiveStacks1
stackExamples
0"tight over sharp cheekbones."
adverbCount29
adverbRatio0.024850042844901457
lyAdverbCount3
lyAdverbRatio0.002570694087403599
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences105
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences105
mean11.14
std6.06
cv0.544
sampleLengths
015
119
220
324
413
519
64
712
813
912
1023
116
1215
132
142
1517
1615
1715
186
191
2012
216
227
235
247
2517
2612
2718
2810
2914
3021
3122
3216
333
346
3511
3614
3718
386
3914
4018
417
4217
4314
4416
452
468
475
4815
4911
40.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.21904761904761905
totalSentences105
uniqueOpeners23
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences97
matches
0"Just the flicker of her"
1"Then a scream—not hers, but"
2"Instead, it raised a hand,"
3"Then the stone cracked, and"
ratio0.041
96.29% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences97
matches
0"She paused, her breath fogging"
1"Her fingers brushed the hem"
2"She had come here for"
3"She stepped forward, her boots"
4"They were lined with carvings,"
5"Her pulse thudded in her"
6"She told herself it was"
7"Her hand flew to the"
8"She turned slowly, scanning the"
9"It died before it reached"
10"Its surface was smooth, obsidian-black,"
11"It was warm, alive, and"
12"She stood, the stone clutched"
13"She told herself it was"
14"Her flashlight died."
15"She fumbled for the backup"
16"She spun, but the chapel"
17"Her fingers tightened around it."
18"She didn’t remember seeing them."
19"Her vision blurred."
ratio0.309
6.39% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount88
totalSentences97
matches
0"Aurora’s boots sank into the"
1"The air hung thick with"
2"She paused, her breath fogging"
3"The fragments—once vibrant, now jagged"
4"Her fingers brushed the hem"
5"She had come here for"
6"The silence was wrong."
7"She stepped forward, her boots"
8"They were lined with carvings,"
9"Some were symbols she recognized"
10"Her pulse thudded in her"
11"She told herself it was"
12"The sound came from the"
13"Her hand flew to the"
14"The air shifted, colder now,"
15"She turned slowly, scanning the"
16"The word felt foreign, brittle"
17"It died before it reached"
18"The beam swept the altar."
19"There, half-buried in dust, lay"
ratio0.907
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
47.62% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount8
matches
0"She paused, her breath fogging in the cold, and glanced at the fading light bleeding through the broken stained glass."
1"The fragments—once vibrant, now jagged and scattered—cast fractured hues across the stone floor, as if the building itself were bleeding color into the dark."
2"Some were symbols she recognized from the old texts, others were unfamiliar, jagged lines that seemed to writhe when she looked too long."
3"Just the flicker of her flashlight beam, which trembled in her grip."
4"The threshold loomed ahead, but the light from the entrance had dimmed, as though the chapel itself were swallowing it whole."
5"The carvings glowed, their spirals twisting into something that resembled faces—dozens of them, mouths open in silent screams."
6"The figure didn’t walk; it *flowed*, its limbs bending in ways that defied logic."
7"It stopped a few feet away, its head tilting as if studying her."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"it said, though its voice was a thousand tones, overlapping, distorted"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"it whispered (whisper)"
dialogueSentences6
tagDensity0.5
leniency1
rawRatio0.333
effectiveRatio0.333
71.7458%