Run: 2026-03-03-01KJTYD49SF6R8M90WA79VTW0G

Run Details

Duration:
6m 9s
Cost:
$0.004360
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 silver chain of the pendant burns against her throat, the crimson stone throbbing like a trapped pulse. She yanks the collar of her delivery jacket up higher, ignoring the way the fabric catches on the crescent scar on her left wrist. Bramble thorns stick out of her denim jeans, and the air smells like damp earth and something cloying, like overripe blackberries left out in the sun for three days. She’s just pushed through the last thicket of brambles that blocked the clearing, the same spot she’d mapped on a walk last month—tall oak trees, gnarled and ancient, marking a circle that should have been empty, overgrown with dead bracken. Instead, the ground under her boots is soft with clover, and bluebells carpet the dirt, their petals vivid purple even though it’s mid-January in London. The patch on her chest, the little gold dragon of Golden Empress, catches the faint light filtering through the oak canopy. She’d grabbed the jacket straight from her shift, still carrying the delivery bag slung over one shoulder, heavy with leftover vegetable spring rolls Yu-Fei had pressed into her hands before she left the restaurant. She pulls out her phone, thumb fumbling for the home button. The screen lights up, showing 11:52 PM. She blinks. She’d left the restaurant at 10:47, driven to Richmond Park, parked in the layby by King Henry’s Mound, then walked twelve minutes to this spot. That should be 11:09 PM, at the latest. She presses the power button, but the screen stays bright, the time frozen. She shoves the phone back into her jacket pocket, then pulls out the crumpled note she’d tucked there three nights ago, scrawled in blue ink: The grove in Richmond Park. The one with the three oaks. He can’t follow here. Stay until dawn. No name, no return address, just the words. She’d laughed at first, tossed it in the bin, then found it again the next morning, crumpled on the floor, and kept it. Two weeks of Evan tracking her, of checking under her bed, of seeing his scuffed boots around every corner, and she’d had nowhere else to turn. She steps forward, boots sinking into the clover, and spots movement at the edge of the clearing. A flash of pale, bleached linen skin, moving between the oak trees, just out of focus. She freezes, holding her breath, and the movement stops. She leans forward, squinting, and for a second she sees it: a tall, thin figure, no hair, skin the color of damp paper, hands ending in long, sharp black nails. It stands perfectly still, behind the farthest oak stone, watching her. Her hand flies back to the pendant, which now glows so brightly that the fabric of her shirt is lit up from underneath, and the figure flinches, pressing itself against the oak tree, its hands curling into the rough bark. She takes a shaky step back, ready to turn and run for the bramble thicket, but when she looks over her shoulder, the thicket is gone. In its place is a wall of brambles, thicker than any she’s ever seen, their thorns glinting like glass in the faint light. She spins back, but the figure is gone too, vanished into the bracken without a trace. She stares at the spot where it stood, and there are no footprints, no marks in the clover, nothing to show it was ever there. The pendant pulses once, sharp and hot, and she looks up. The sky above the clearing is no longer the crisp winter night she’d expected, just a soft, lilac glow, no moon, no stars, no sign of the constellations she’d spent hours learning about in pre-law. The bluebells have spread further, their petals brushing against her ankles as she steps backwards, tripping over a root that wasn’t there a minute ago. She falls to her knees, the pendant slipping out from under her shirt, clattering against the oak stone at her side. She brushes a strand of straight, shoulder-length black hair out of her face, and the stone glows for a second, matching the pendant’s crimson light, and then a strip of bark peels back, revealing smooth, silver metal underneath, etched with tiny, swirling symbols she doesn’t recognize. She reaches for the pendant, but before her fingers close around it, she hears a low, rumbling growl, deeper than any bear, any wolf, any animal she’s ever heard. She looks up, and standing in the gap between the two nearest oak stones, blocking her way to the bramble wall, is another figure. This one is broader, taller, its skin covered in patches of green moss, eyes like glowing embers fixed on her. It raises a hand, claws long and sharp, and she flinches, curling into a ball on the ground. The pendant skitters across the dirt, coming to rest against the silver-etched oak stone, and the embers in the figure’s eyes dim, as if it’s being burned by the light from the pendant. It steps back, growling again, and vanishes into the trees. She sits there for a long minute, chest heaving, until the growling fades completely. She picks up the pendant, brushing dirt off it, and tucks it back under her shirt, pressing her palm to the warm stone. The crescent scar on her wrist throbs, a dull ache she hasn’t felt since she was seven years old, when she’d fallen against a garden trowel and cut herself. She stands up, brushing dirt off her jeans, and stares at the wall of brambles blocking her way back. The bluebells are starting to wilt now, their petals turning brown, and the ground under her boots is no longer soft clover, but hard, packed dirt, exactly like the rest of Richmond Park. The air smells worse now, too, a mix of rot and cloying honey, sharp enough to make her nose burn. She steps towards the bramble wall, reaching out to touch the thorns, and they prickle her fingers, leaving small, red cuts. She pulls her hand back, rubbing it against her jeans, and that’s when she hears it: a voice, low and rough, cutting through the quiet, sharp as a broken bottle. “You shouldn’t have come here.” The voice is exactly Evan’s, stretched thin, like it’s been pulled apart at the seams. She spins, her delivery bag slipping off her shoulder, clattering to the ground, spring rolls spilling out across the dirt. Standing in the gap between the two oak stones, where the bramble wall should have been, is a man. Tall, lean, wearing the frayed grey flat cap she’d bought Evan for his birthday, scuffed work boots caked in Richmond Park mud. His hair is the same messy brown, his jawline the same sharp angle that used to make her soften, before the shouting started, before the slamming doors, before the way he’d grabbed her wrist when she tried to leave. But his skin is too pale, almost translucent, and his eyes are black, no whites, no irises, just endless dark. And on his left wrist, a small crescent scar, identical to the one on her own wrist, the one from the garden trowel all those years ago. The pendant under her shirt pulses once, so bright it lights up the entire clearing, and the figure smiles, his teeth sharp, too sharp, too many of them.
created_at"2026-03-03T22:53:40.827Z" 3/3/2026, 10:53:40 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1100
moderation_latency(null)
generation_time261032
tokens_prompt4560
tokens_completion10323
native_tokens_prompt4450
native_tokens_completion9788
native_tokens_completion_images(null)
native_tokens_reasoning8184
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"
usage0.0043602
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772578420954f39d09b715cb307c823cd4ff1a5ec1abbc5a31"
is_byokfalse
latency1100
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772578420-cqC4fvBbmUAmTEROieqo"
upstream_id"021772578420954f39d09b715cb307c823cd4ff1a5ec1abbc5a31"
total_cost0.0043602
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
91.85% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1227
totalAiIsmAdverbs2
found
0
adverb"perfectly"
count1
1
adverb"completely"
count1
highlights
0"perfectly"
1"completely"
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)
83.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1227
totalAiIsms4
found
0
word"pulse"
count1
1
word"glinting"
count1
2
word"etched"
count2
highlights
0"pulse"
1"glinting"
2"etched"
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
narrationSentences57
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences57
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences58
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1226
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions18
wordCount1221
uniqueNames10
maxNameDensity0.33
worstName"Richmond"
maxWindowNameDensity1
worstWindowName"Richmond"
discoveredNames
London1
Golden1
Empress1
Yu-Fei1
Richmond4
Park4
King1
Henry1
Mound1
Evan3
persons
0"Yu-Fei"
1"King"
2"Henry"
3"Mound"
4"Evan"
places
0"London"
1"Richmond"
2"Park"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences54
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1226
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences58
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs13
mean94.31
std47.63
cv0.505
sampleLengths
071
1120
2166
3123
490
5138
6134
7138
851
95
10115
1147
1228
80.64% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences57
matches
0"is lit"
1"is gone"
2"being burned"
3"been pulled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs189
matches(empty)
93.60% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences58
ratio0.017
matches
0"She’s just pushed through the last thicket of brambles that blocked the clearing, the same spot she’d mapped on a walk last month—tall oak trees, gnarled and ancient, marking a circle that should have been empty, overgrown with dead bracken."
81.31% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1226
adjectiveStacks3
stackExamples
0"long, sharp black nails."
1"revealing smooth, silver metal"
2"same messy brown, his"
adverbCount50
adverbRatio0.040783034257748776
lyAdverbCount5
lyAdverbRatio0.004078303425774877
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences58
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences58
mean21.14
std9.99
cv0.473
sampleLengths
018
124
229
340
425
521
634
711
87
92
1025
118
1213
1330
146
154
163
178
1823
1926
2017
2116
229
2330
2411
2540
2626
2723
2816
2925
3011
3135
3225
3321
3446
3529
3624
3720
3818
3933
4010
4114
4223
4329
4419
4533
4620
4721
4830
495
35.06% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3448275862068966
totalSentences58
uniqueOpeners20
59.52% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences56
matches
0"Instead, the ground under her"
ratio0.018
5.71% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences56
matches
0"She yanks the collar of"
1"She’s just pushed through the"
2"She’d grabbed the jacket straight"
3"She pulls out her phone,"
4"She’d left the restaurant at"
5"She presses the power button,"
6"She shoves the phone back"
7"He can’t follow here."
8"She’d laughed at first, tossed"
9"She steps forward, boots sinking"
10"She freezes, holding her breath,"
11"She leans forward, squinting, and"
12"It stands perfectly still, behind"
13"Her hand flies back to"
14"She takes a shaky step"
15"She spins back, but the"
16"She stares at the spot"
17"She falls to her knees,"
18"She brushes a strand of"
19"She reaches for the pendant,"
ratio0.536
40.36% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount47
totalSentences56
matches
0"The silver chain of the"
1"She yanks the collar of"
2"Bramble thorns stick out of"
3"She’s just pushed through the"
4"The patch on her chest,"
5"She’d grabbed the jacket straight"
6"She pulls out her phone,"
7"The screen lights up, showing"
8"She’d left the restaurant at"
9"That should be 11:09 PM,"
10"She presses the power button,"
11"She shoves the phone back"
12"The one with the three"
13"He can’t follow here."
14"She’d laughed at first, tossed"
15"She steps forward, boots sinking"
16"A flash of pale, bleached"
17"She freezes, holding her breath,"
18"She leans forward, squinting, and"
19"It stands perfectly still, behind"
ratio0.839
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences56
matches(empty)
ratio0
11.66% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount9
matches
0"She’s just pushed through the last thicket of brambles that blocked the clearing, the same spot she’d mapped on a walk last month—tall oak trees, gnarled and an…"
1"The bluebells have spread further, their petals brushing against her ankles as she steps backwards, tripping over a root that wasn’t there a minute ago."
2"She falls to her knees, the pendant slipping out from under her shirt, clattering against the oak stone at her side."
3"The pendant skitters across the dirt, coming to rest against the silver-etched oak stone, and the embers in the figure’s eyes dim, as if it’s being burned by th…"
4"She picks up the pendant, brushing dirt off it, and tucks it back under her shirt, pressing her palm to the warm stone."
5"The bluebells are starting to wilt now, their petals turning brown, and the ground under her boots is no longer soft clover, but hard, packed dirt, exactly like…"
6"She steps towards the bramble wall, reaching out to touch the thorns, and they prickle her fingers, leaving small, red cuts."
7"She spins, her delivery bag slipping off her shoulder, clattering to the ground, spring rolls spilling out across the dirt."
8"His hair is the same messy brown, his jawline the same sharp angle that used to make her soften, before the shouting started, before the slamming doors, before …"
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
82.7805%