Run: 2026-03-03-01KJTYB2ST50P2H80VFXQNYW1Z

Run Details

Duration:
4m 20s
Cost:
$0.004270
Provider:
Seed

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 Heartstone thrummed so loud it drowned out the rustle of the oak leaves. Rory stopped, one boot hovering over a patch of bluebells she’d never seen this late in December. She’d mapped every inch of Richmond Park on her Golden Empress delivery runs over the past six months, but this clearing wasn’t on any of her scribbled notebook pages. Not that she’d ever looked for a hidden spot choked with wildflowers that bloomed bright and unbruised, even when the hedgerows nearby were brown and crisp with frost. She pulled the pendant out from under her thrifted charcoal jumper, the silver chain cool against her palms even as the crimson gem thrummed warm against her sternum. The unknown benefactor who’d left it on her doormat at 2 a.m. three weeks prior had left no note, no explanation, but Rory had learned to trust the pulse that flared only near whatever the stone’s label had promised: Hel portals. She’d finished her last delivery of the night, a pad thai for a student near King's Cross, and ridden her rusty bike east, following the thrumming until it led her here. She shifted her weight, glancing back over her shoulder. The park’s usual night sounds were gone: no distant bark of a fox, no rumble of the mainline train that ran along the park’s eastern edge, no late-night shouts from the pub on Queen's Road. All she could hear was the steady thrumming of the Heartstone, and the high, thin whine of something she couldn’t place, like a radio tuned between stations. She’d thought about calling Eva, her childhood friend from Cardiff, but Eva was working a double at the hospital in Bermondsey, and she didn’t want to drag her into this. She should have called Silas, the bar owner whose establishment sat below her flat, but he’d be closing up in ten minutes, and she didn’t want to drag him into this either. She stepped forward again, boots sinking into soft moss that shouldn’t have grown this thick in winter. The air smelled like rain and polished silver, sharp and cold, nothing like the damp leaf mould she’d expected. She rounded the first of the standing stones, tall gnarled oak trunks polished smooth by decades of wind and rain, arranged in a tight circle around the clearing’s center, and her left wrist itched. She looked down. The crescent-shaped scar, the one she’d gotten when she fell through a garden fence as a kid, glowed faintly, a thin silver line against her pale skin. She’d not noticed it flaring since she’d left Evan, back in Cardiff. She rubbed at the scar with her thumb, the itch fading a little, but the thrumming of the pendant grew louder. She peeked around the oak stone, and her breath caught. The full moon sliced through the canopy above the clearing, casting silver light over every bloom. She glanced down, half-expecting to see her own shadow stretched across the bluebells, but there was nothing. Just the bright flowers, glowing in the moonlight, no dark edge to mark where they ended. She stepped fully into the circle of stones, and the air grew thicker, like she was walking through cotton. Her arms felt heavy, and the whine in her ears blended with the pendant’s thrumming until they were the only two sounds in the world. She fumbled for her phone in her pocket, her hands shaking. The screen lit up, showing 12:03 a.m. She’d locked her bike to the fence at 11:15 p.m., twelve minutes prior. Twelve minutes in the outside world, almost an hour inside the clearing. The time dilation hit her, cold and sharp, and she stumbled back, tripping over a root half-buried in moss. She caught herself on the nearest standing stone, the cold of the oak trunk seeping through her jumper. The stone felt wrong, older than the ancient oaks she’d seen in the park’s designated ancient woodland area, like it had been carved and polished by something not human. She pulled her hand away, and noticed fine, dark dust coating her fingers, like crushed charcoal, that didn’t wipe off on her jeans. A soft, tinkling laugh drifted through the clearing, high and sweet, like a seven-year-old’s. But there was no one else here. Rory froze, her grip tightening on the pendant. She turned slowly, scanning the brambles and gorse that ringed the stone circle. Nothing moved. Just the wind rustling the leaves, but that sound didn’t match the laugh. It had come from directly behind her. She spun back around, eyes darting to the center of the clearing. The patch of bare earth she’d spotted earlier was now split by a thin, twisting crack, glowing with the same deep crimson light that filled her pendant. The crack spread wider by the second, and she could feel a faint heat seeping from it, warm and familiar, like the inside of a car parked in the sun, even though the December air bit at her cheeks. A soft, scrabbling noise followed, like claws dragging against oak wood. She looked at the nearest standing stone, and for a split second, she saw a shadow pressed against the back of it, tall and lanky, with long, thin fingers curled over the top. She blinked, and it was gone. Just the smooth, polished oak trunk, no shadow, no marks. Her scar began to itch again, worse this time. She yanked up her jumper sleeve, staring at the crescent shape, which now glowed bright silver, matching the chain of her pendant. The thrumming of the Heartstone was so loud now it made her teeth ache. She stumbled backward, tripping over another root, and fell into the soft moss at the edge of the circle. A strand of shoulder-length black hair fell into her face, sticking to the damp moss on her cheek. She brushed it back, her fingers shaking. The crack in the earth spread faster now, the crimson light spilling out over the wildflowers, turning them a vivid, unnatural red. She could hear a soft, wet sigh coming from the crack, like someone breathing too slowly, too deep, like they were asleep and dreaming of something terrible. She scrambled to her feet, reaching for the bike keys in her pocket, but her hands were shaking too hard to fumble with the clip. The scrabbling noise returned, louder this time, coming from all around the stone circle. She looked from stone to stone, and now she saw them: shadows, dozens of them, pressed against the oak trunks, moving closer, their long fingers dragging against the wood. The pendant flared bright red, so bright it blinded her for a second. When she blinked the spots away, a voice curled around her, soft and musical, wrong in a way she couldn’t name, like it was speaking through two different throats at once. “You came.” Rory’s blood turned cold in her veins. The scrabbling stopped, and the shadows pressed closer to the circle’s edge. She could smell it then, thick and sweet, like overripe fruit left in a locked car for weeks, curling through the air with every breath she took. The first shadow stepped out from behind the nearest standing stone, tall and gaunt, with skin that looked like peeling oak bark, and eyes that glowed the same deep crimson as the crack in the earth. Rory opened her mouth to scream, but no sound came out.
created_at"2026-03-03T22:50:45.464Z" 3/3/2026, 10:50:45 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1386
moderation_latency(null)
generation_time259638
tokens_prompt4560
tokens_completion10427
native_tokens_prompt4450
native_tokens_completion9562
native_tokens_completion_images(null)
native_tokens_reasoning7985
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"
usage0.0042698
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772578245582d45041e92366fce25871fcc31e231b4de7535e"
is_byokfalse
latency1386
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772578245-gZMBAk7QegXdwMsyJ4t4"
upstream_id"021772578245582d45041e92366fce25871fcc31e231b4de7535e"
total_cost0.0042698
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags0
91.91% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1236
totalAiIsmAdverbs2
found
0
adverb"slowly"
count2
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)
79.77% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1236
totalAiIsms5
found
0
word"pulse"
count1
1
word"weight"
count1
2
word"scanning"
count1
3
word"could feel"
count1
4
word"familiar"
count1
highlights
0"pulse"
1"weight"
2"scanning"
3"could feel"
4"familiar"
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
narrationSentences66
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences66
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences67
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1236
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
totalMentions26
wordCount1234
uniqueNames17
maxNameDensity0.41
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Rory"
discoveredNames
Heartstone3
December2
Richmond1
Park1
Golden1
Empress1
Rory5
Hel1
King1
Cross1
Queen1
Road1
Eva2
Cardiff2
Bermondsey1
Silas1
Evan1
persons
0"Heartstone"
1"Rory"
2"King"
3"Cross"
4"Queen"
5"Road"
6"Eva"
7"Silas"
8"Evan"
places
0"December"
1"Richmond"
2"Park"
3"Cardiff"
4"Bermondsey"
globalScore1
windowScore1
71.88% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences64
glossingSentenceCount2
matches
0"smelled like rain and polished silver, sha"
1"looked like peeling oak bark, and eyes th"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1236
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences67
matches(empty)
83.86% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs19
mean65.05
std28.85
cv0.444
sampleLengths
014
174
2100
3133
470
563
659
7106
870
964
1078
1160
1289
1349
1468
1546
1646
1736
1811
89.31% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences66
matches
0"were gone"
1"been carved"
2"was gone"
59.65% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs190
matches
0"was working"
1"was walking"
2"were shaking"
3"was speaking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences67
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1241
adjectiveStacks0
stackExamples(empty)
adverbCount38
adverbRatio0.030620467365028204
lyAdverbCount7
lyAdverbRatio0.0056406124093473006
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences67
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences67
mean18.45
std9.33
cv0.506
sampleLengths
014
117
229
328
428
512
629
731
89
935
1027
1130
1232
1317
1419
1534
163
1727
1812
1921
2010
2116
2217
2316
2419
2525
2611
277
2813
2912
3019
3118
3229
3323
3414
357
368
3713
382
3913
407
4112
4227
4339
4411
4533
466
4710
489
4922
36.57% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.22388059701492538
totalSentences67
uniqueOpeners15
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences65
matches
0"Just the bright flowers, glowing"
1"Just the wind rustling the"
2"Just the smooth, polished oak"
ratio0.046
23.08% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences65
matches
0"She’d mapped every inch of"
1"She pulled the pendant out"
2"She’d finished her last delivery"
3"She shifted her weight, glancing"
4"She’d thought about calling Eva,"
5"She should have called Silas,"
6"She stepped forward again, boots"
7"She rounded the first of"
8"She looked down."
9"She’d not noticed it flaring"
10"She rubbed at the scar"
11"She peeked around the oak"
12"She glanced down, half-expecting to"
13"She stepped fully into the"
14"Her arms felt heavy, and"
15"She fumbled for her phone"
16"She’d locked her bike to"
17"She caught herself on the"
18"She pulled her hand away,"
19"She turned slowly, scanning the"
ratio0.492
29.23% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount56
totalSentences65
matches
0"The Heartstone thrummed so loud"
1"Rory stopped, one boot hovering"
2"She’d mapped every inch of"
3"She pulled the pendant out"
4"The unknown benefactor who’d left"
5"She’d finished her last delivery"
6"She shifted her weight, glancing"
7"The park’s usual night sounds"
8"She’d thought about calling Eva,"
9"She should have called Silas,"
10"She stepped forward again, boots"
11"The air smelled like rain"
12"She rounded the first of"
13"She looked down."
14"The crescent-shaped scar, the one"
15"She’d not noticed it flaring"
16"She rubbed at the scar"
17"She peeked around the oak"
18"The full moon sliced through"
19"She glanced down, half-expecting to"
ratio0.862
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences65
matches(empty)
ratio0
51.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount7
matches
0"Not that she’d ever looked for a hidden spot choked with wildflowers that bloomed bright and unbruised, even when the hedgerows nearby were brown and crisp with…"
1"The park’s usual night sounds were gone: no distant bark of a fox, no rumble of the mainline train that ran along the park’s eastern edge, no late-night shouts …"
2"She stepped forward again, boots sinking into soft moss that shouldn’t have grown this thick in winter."
3"She pulled her hand away, and noticed fine, dark dust coating her fingers, like crushed charcoal, that didn’t wipe off on her jeans."
4"The patch of bare earth she’d spotted earlier was now split by a thin, twisting crack, glowing with the same deep crimson light that filled her pendant."
5"She scrambled to her feet, reaching for the bike keys in her pocket, but her hands were shaking too hard to fumble with the clip."
6"The first shadow stepped out from behind the nearest standing stone, tall and gaunt, with skin that looked like peeling oak bark, and eyes that glowed the same …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
83.9070%