Run: 2026-03-03-01KJV0E22R0EJM428YYB134A20

Run Details

Duration:
7.1s
Cost:
$0.003234
Provider:
Google AI Studio

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 bit into my neck as I scrambled over the mossy, uneven earth. My breath came in sharp, ragged hitches, the kind that tear at the throat. Somewhere behind me, the dense, twisted oaks seemed to lean in, their skeletal limbs clawing at the ink-black sky. Get to the stones. That was the only thought left in my head. The Heartstone Pendant hung heavy against my chest, pulsating with a rhythmic, sickly warmth that matched the hammering of my own heart. I clutched the metal casing, my thumbnail finding the small, familiar scar on my left wrist as a grounding tether. The air here didn’t taste like the crisp, damp oxygen of a London night. It tasted like ozone and rotted lilies. "Rory, keep moving," I hissed to myself, the sound swallowed immediately by the oppressive, heavy silence of the grove. I reached the clearing, my boots sliding on a patch of slick, bioluminescent fungi that clung to the roots of the massive, ancient oak standing stones. They stood like jagged, broken teeth jutting from the earth, surrounding a circle of dead, white grass. The legends were right. Time felt stagnant here, a thick syrup moving through an hourglass that refused to tip. "You are early." The voice didn't come from behind me. It came from the air itself, vibrating through my marrow. I spun around, my back hitting the cold, rough stone of the eastern pillar. A shadow detached itself from the gloom. It wasn't a trick of the moon or a flicker of tired nerves. It was a shifting, coalescing mass of smoke and malice, tall enough to brush the lowest branches of the canopy. It lacked a face, or at least, one that my mind could process without fracturing. Where eyes should have been, there were only twin pinpricks of dull, starving light. "I didn't come for a conversation." My voice sounded thin, reedy, but I held my ground. "You came for an audience." The shadow drifted closer, the temperature in the clearing plummeting instantly. Frost bloomed on the silver chain, stinging my skin. "The Heartstone burns. It knows what lies beneath the soil." "It belongs to the Dymas," I retorted, feigning a confidence I couldn't feel. "You have no claim to it." "Claim?" The figure laughed, a sound like dry leaves skittering across a tombstone. "Hunger needs no claim. Your benefactor is a fool, tossing a spark into a forest of gasoline." My hand moved to my pocket, gripping the small, fold-out knife I kept for deliveries. It felt like a toothpick against a hurricane. The shadow pulsed, reaching out a long, translucent digit toward the pendant. I flinched, the motion jerky and desperate. "Stay back." "Or what, little delivery girl?" I looked at the ground, desperate for a path. The white grass beneath the stones was beginning to glow with an eerie, violet luminescence. The stones themselves were vibrating, an infrasonic hum that rattled my teeth and made my vision blur at the edges. "The grove protects its own," I muttered, hoping the old stories held some grain of truth. "The grove feeds," the shadow corrected. It moved then, faster than sight, a blur of smoke and cold. I dived to the right, tumbling over the gnarled, protruding roots. My shoulder slammed into the earth, the impact jarring my bones, but I scrambled up, running toward the center of the arc. A cacophony erupted in the trees—a sound like a thousand chimes shattering at once. Birds, or things like them, erupted from the canopy, their wings beating the air into a frenzy. I didn't look up. I knew what would be looking down. "You cannot outrun the threshold, Carter," the voice boomed, deeper now, shaking the very earth beneath my boots. I reached the center, where the ground dipped into a slight, concave basin. The pendant was nearly glowing to the point of blinding, a crimson beacon in the suffocating dark. It grew scorching hot against my skin, the metal searing a perfect, crescent-shaped mark into my chest. I gasped, the pain sharp and electric. "I don't need to run," I choked out, dropping to my knees. "I just need to finish what I was sent here to do." I pressed both hands onto the cold, damp soil, the Heartstone wedged between my palms. The ground shuddered. A deep, resonant thrumming rose from the bedrock, a heartbeat from the earth itself. The shadows froze. The clearing went deathly still. "What is that?" The voice lacked its earlier arrogance, replaced by a serrated edge of alarm. "A wake-up call." The earth cracked beneath my knees, a jagged, luminous fissure racing toward the shadow. The violet light intensified, turning the night into a blinding, surreal day. The air around me began to fray at the seams, the reality of the grove warping, stretching like pulled taffy. I felt a sudden, violent tug at my navel, a hook dragging me toward the dark, widening chasm in the ground. The shadow lunged, its fingers lengthening into razor-sharp icicles, but it was too late. The pendant surged, a brilliant, blinding flash of crimson light that swallowed the clearing, the stones, and the encroaching dark. I felt the ground fall away beneath me, the sensation of plunging into ice-cold water, and for a split second, I wasn't in the grove at all. I was somewhere else entirely, surrounded by shifting, geometric planes of color and sound. I landed hard on my side, gravel biting into my palm. My breath hitched. The silence was absolute. I sat up, expecting the grove, the shadow, the suffocating presence. Instead, I saw a blurred, flickering light at the end of a long, concrete corridor. The smell of copper, thick and overwhelming, hung in the stagnant air. Blood. Recent. And it was coming from the shadows ahead. I reached for the pendant, but the silver chain was snapped, hanging limp and empty against my throat. The crimson glow was gone. In its place, a low, wet growl echoed off the walls of the tunnel, far too large to belong to anything human. Something shifted in the dark, just beyond the reach of the flickering bulb. A heavy, rhythmic scraping sound started—claw on concrete—moving toward me. "Rory," a voice whispered from the darkness, sounding exactly like my own. "Don't look back."
created_at"2026-03-03T23:27:20.181Z" 3/3/2026, 11:27:20 PM
model"google/gemini-3.1-flash-lite-preview-20260303"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency697
moderation_latency(null)
generation_time6825
tokens_prompt4560
tokens_completion1599
native_tokens_prompt4427
native_tokens_completion1418
native_tokens_completion_images0
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"
usage0.00323375
router(null)
provider_responses
0
endpoint_id"e004ce39-eb0c-4474-93d5-55072e725970"
is_byokfalse
latency697
model_permaslug"google/gemini-3.1-flash-lite-preview-20260303"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1772580440-FW9FEeGkkB6jNZzHoilI"
upstream_id(null)
total_cost0.00323375
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences20
tagDensity0.55
leniency1
rawRatio0
effectiveRatio0
95.28% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1059
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"very"
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)
15.01% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1059
totalAiIsms18
found
0
word"rhythmic"
count2
1
word"warmth"
count1
2
word"familiar"
count1
3
word"oppressive"
count1
4
word"silence"
count2
5
word"gloom"
count1
6
word"flicker"
count1
7
word"pulsed"
count1
8
word"cacophony"
count1
9
word"beacon"
count1
10
word"searing"
count1
11
word"perfect"
count1
12
word"electric"
count1
13
word"racing"
count1
14
word"surreal"
count1
15
word"echoed"
count1
highlights
0"rhythmic"
1"warmth"
2"familiar"
3"oppressive"
4"silence"
5"gloom"
6"flicker"
7"pulsed"
8"cacophony"
9"beacon"
10"searing"
11"perfect"
12"electric"
13"racing"
14"surreal"
15"echoed"
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
narrationSentences78
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences78
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)
analyzedSentences87
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen28
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1056
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions5
wordCount952
uniqueNames4
maxNameDensity0.21
worstName"Heartstone"
maxWindowNameDensity0.5
worstWindowName"Heartstone"
discoveredNames
Heartstone2
Pendant1
London1
Frost1
persons
0"Heartstone"
1"Pendant"
2"Frost"
places
0"London"
globalScore1
windowScore1
74.24% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount2
matches
0"tasted like ozone and rotted lilies"
1"felt like a toothpick against a hurrica"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1056
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences87
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs36
mean29.33
std18.88
cv0.644
sampleLengths
048
113
263
319
462
53
631
769
816
935
1019
1130
1242
132
145
1544
1616
176
1845
1942
2018
2154
2224
2332
248
2516
263
2746
2835
2961
3018
3138
3210
3345
3423
3515
96.27% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences78
matches
0"was snapped"
1"was gone"
23.40% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs151
matches
0"was beginning"
1"were vibrating"
2"was nearly glowing"
3"was coming"
77.18% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences2
totalSentences87
ratio0.023
matches
0"A cacophony erupted in the trees—a sound like a thousand chimes shattering at once."
1"A heavy, rhythmic scraping sound started—claw on concrete—moving toward me."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount960
adjectiveStacks1
stackExamples
0"small, fold-out knife"
adverbCount27
adverbRatio0.028125
lyAdverbCount9
lyAdverbRatio0.009375
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences87
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences87
mean12.14
std5.98
cv0.493
sampleLengths
015
114
219
34
49
522
620
714
87
919
1026
1117
124
1315
143
157
1610
1714
187
1913
2020
2115
2214
2316
2416
259
2610
2713
286
2913
3017
3115
328
3312
347
352
365
379
3815
3920
4016
416
4212
4311
4422
4514
4617
474
487
4918
34.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.3103448275862069
totalSentences87
uniqueOpeners27
87.72% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences76
matches
0"Somewhere behind me, the dense,"
1"Instead, I saw a blurred,"
ratio0.026
35.79% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences76
matches
0"My breath came in sharp,"
1"I clutched the metal casing,"
2"It tasted like ozone and"
3"I hissed to myself, the"
4"I reached the clearing, my"
5"They stood like jagged, broken"
6"It came from the air"
7"I spun around, my back"
8"It wasn't a trick of"
9"It was a shifting, coalescing"
10"It lacked a face, or"
11"My voice sounded thin, reedy,"
12"I retorted, feigning a confidence"
13"My hand moved to my"
14"It felt like a toothpick"
15"I flinched, the motion jerky"
16"I looked at the ground,"
17"I muttered, hoping the old"
18"It moved then, faster than"
19"I dived to the right,"
ratio0.461
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount70
totalSentences76
matches
0"The silver chain bit into"
1"My breath came in sharp,"
2"That was the only thought"
3"The Heartstone Pendant hung heavy"
4"I clutched the metal casing,"
5"The air here didn’t taste"
6"It tasted like ozone and"
7"I hissed to myself, the"
8"I reached the clearing, my"
9"They stood like jagged, broken"
10"The legends were right."
11"Time felt stagnant here, a"
12"The voice didn't come from"
13"It came from the air"
14"I spun around, my back"
15"A shadow detached itself from"
16"It wasn't a trick of"
17"It was a shifting, coalescing"
18"It lacked a face, or"
19"My voice sounded thin, reedy,"
ratio0.921
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences76
matches(empty)
ratio0
47.62% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount6
matches
0"The Heartstone Pendant hung heavy against my chest, pulsating with a rhythmic, sickly warmth that matched the hammering of my own heart."
1"I clutched the metal casing, my thumbnail finding the small, familiar scar on my left wrist as a grounding tether."
2"I reached the clearing, my boots sliding on a patch of slick, bioluminescent fungi that clung to the roots of the massive, ancient oak standing stones."
3"Time felt stagnant here, a thick syrup moving through an hourglass that refused to tip."
4"The stones themselves were vibrating, an infrasonic hum that rattled my teeth and made my vision blur at the edges."
5"The pendant surged, a brilliant, blinding flash of crimson light that swallowed the clearing, the stones, and the encroaching dark."
79.55% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount1
matches
0"The figure laughed, a sound like dry leaves skittering across a tombstone"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount7
fancyTags
0"I hissed (hiss)"
1"I retorted (retort)"
2"The figure laughed (laugh)"
3"I muttered (mutter)"
4"the shadow corrected (correct)"
5"I choked (choke)"
6"a voice whispered (whisper)"
dialogueSentences20
tagDensity0.35
leniency0.7
rawRatio1
effectiveRatio0.7
75.3511%