Run: 2026-03-06-01KK1J5KCSKG09W48DRQ3RY32M

Run Details

Duration:
57.1s
Cost:
$0.035615
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora Carter caught her sleeve on the split bark and tore it free with a hiss through her teeth. The standing stone loomed on her right, half sunk in the earth, its surface slick with old moss and grooves that did not belong to rain or roots. Her torch beam skimmed across the marks, then slipped away. She did not want to look at them too long. The Heartstone pendant had already begun to warm against her chest, a slow, steady pulse through wool and skin, as if it had found a second heartbeat and meant to lend it to her. “Fine,” she muttered to no one. “That’s never ominous.” She ducked past the last of the ancient oaks and stepped into the Grove. At once, the park dropped away. Richmond Park had not vanished, not fully, but it felt held at arm’s length. The usual city murmur, planes, tyres, some idiot laughing too loud in the distance, all of it thinned into something flat and unreachable. The clearing stretched wider than it should have. Wildflowers crowded the ground in thick swathes, summer and spring and something older all tangled together, foxgloves beside snowdrops, bluebells beside pale blossoms she did not know. Their scent rolled up in waves, sweet at first, then sharp enough to catch at the back of her throat. She stopped and listened. Nothing. That was the first wrong thing. Parks were never silent. Even empty ones had life in them, leaves rubbing together, insects whining near the ear, some small thing crashing through undergrowth with more confidence than sense. Here, silence sat in the Grove like a person already waiting. Aurora shifted the strap of her satchel higher on her shoulder. Inside lay a coil of iron wire, a flask of water, a notebook, two pieces of chalk, and a kitchen knife she had taken from her own drawer with the dim awareness that if she needed a knife in this place, she was already in trouble. Her phone had lost signal near the outer path. It still showed the time, though she had learned not to trust clocks around Fae places. The reason she had come pressed at her more sharply than the pendant. Yu-Fei’s youngest waiter, Tom, had vanished two days ago after boasting, over stacked takeaway tubs and a mop bucket, that he knew where to find the “door in the park”. He had laughed when Aurora told him not to poke strange magic with a stick. He was nineteen. Nineteen-year-olds treated warnings as dares. By the next shift he had not turned up. By the next day his sister had called the restaurant in tears. No police report would fix this. No one at the station would write down, missing, last seen chasing a rumour about a hidden grove where time went soft at the edges. Aurora crouched and touched the nearest patch of flowers. The petals felt cool. Real enough. Dew beaded on her fingertips, though the grass around them stayed dry. She rubbed her thumb against her forefinger. Sticky. Like sap. “Tom?” Her voice landed badly. It did not echo. The name seemed to sink into the clearing and disappear under it. She rose and walked deeper in. The Grove had no paths. That was the second wrong thing. Human feet made paths everywhere. Give people a green space and they would carve lines through it out of habit, laziness, hope. Yet the flowers here stood untouched, no stems bent, no mud churned. Tom had not walked this way. Or the Grove had closed over his tracks. The pendant warmed further. A pulse. Then another. Not random. It answered something. Aurora drew it from under her jumper. The deep crimson stone glowed from within, faint but clear, like banked coals under ash. Its silver chain had twisted around itself. She untangled it with careful fingers and turned slowly, watching for any change. There. Stronger, toward the centre of the clearing where the flowers thinned and left a patch of pale ground bare. She approached with measured steps. The bare patch looked at first like packed chalk, then like old bone, then only like earth scrubbed clean of life. Symbols ringed it in a loose spiral, shallow cuts in the soil, too neat to be natural and too crude to belong to any fae court she had heard of. Human work. Tom’s, perhaps. Or whoever had whispered the rumour into his ear. A shape lay near the middle. Aurora’s breath snagged. She crossed the distance fast, dropping to one knee. Not a body. A backpack. Cheap canvas. One strap torn. A pin on the flap read CARDIFF DEVILS in chipped red paint. “Idiot,” she said, too softly for it to count as anger. She opened the bag. Water bottle. Half a packet of mints. Portable charger. A receipt from a chicken shop. No phone. No wallet. No Tom. The smell reached her then, hidden under the flowers until she bent low. Not rot. Not blood. Cold metal and pond water, with something sweet underneath, like fruit left too long in a bowl. She looked up. The silence had changed. No sound broke it, not exactly. Yet it had texture now. A delicate thread of disturbance drifted around the edge of the clearing, a faint hush-hush in the grass, too light for footsteps, too deliberate for wind. Aurora stood without haste and slid the backpack over her free shoulder. “Tom,” she called, louder this time. “If this is you, answer me now. I’m not spending my night getting stalked by a teenager with no sense.” The hush-hush stopped. Her torch beam cut across the ring of flowers. White petals flashed. Tall stems nodded. For one instant she caught a slice of movement between two yew trunks, not forward, not back, but sideways, as if a figure had folded itself through the dark rather than walked through it. Aurora did not run. Rule one in strange places, never reward fear by performing it. She took the iron wire from her satchel and unspooled a length. The metal bit her palm with familiar weight. Folk stories loved iron for a reason. Sometimes stories survived because they worked. “Right,” she said. “If you’re Fae, I’m not rude enough to start naming names. If you’re not Fae, I’m in a less charming sort of trouble.” A laugh answered her. Not loud. Not close. It sounded like someone had found a joke in another room and only shared the edge of it. Aurora turned so sharply the torch beam lurched. Nothing stood there. The laugh had come from behind her left shoulder. Or above. Or inside the ring of trees. “Tom?” This time the clearing gave her a reply. Not a voice. A click. Another followed from farther off. Then another. Dry, small, regular. Stone on stone. Aurora’s skin tightened across her back. She swept the torch around and found the standing stones at the boundary, each one half hidden by trunks and branches. She could not see them all from here, but the nearest had shifted. She would have staked her rent on it. Before, its carved face had pointed toward the bare patch. Now it angled toward her. “No,” she said. Click. A second stone turned somewhere in the dark. Click. A third. The sound circled the clearing, patient as a lock being tested. Aurora backed away from the pale ground and nearly trod on the flowers she had tried to avoid. Their stems did not snap under her boot. They bent and clung, silky and cool, wrapping her ankle for a heartbeat before slipping free. That did it. Fear arrived clean and hard, not a flutter but a grip. She pulled the pendant tight in one fist. Heat surged into her palm. The bare patch in the centre of the clearing split with a hairline glow. Aurora stared. Crimson light leaked through the shallow cuts in the earth, tracing the spiral symbols one by one. Whoever had marked the ground had not understood what they were doing, but they had done enough. The pendant burned now. It tugged toward the opening with a force that reached through silver and skin. A Hel portal, she thought, and the thought came with no comfort at all. The crack widened to the width of a finger. No smell rose from it. No smoke. Only a dark so dense it looked poured rather than cast, thick and fluid under the red light. Behind her, the hush-hush resumed. Closer. Aurora spun and caught them at last. Three figures stood just beyond the torch beam where the flowers grew tallest. No, not stood. Hung. Their outlines wavered as if seen through heat, but the night around them was cool enough to sting her lungs. They had the shape of people draped in long, pale cloth. Branch-thin arms protruded from the folds, hands too many-jointed and still. Where faces should have been, she saw only smooth oval shadows that reflected no light. One tilted, birdlike, in a gesture so intent it felt obscene. Aurora raised the iron wire between both hands. “Back off.” The nearest figure glided one pace nearer. Flowers bowed under it without touch. “I’m not prey,” she said. The thing’s head tilted the other way. Then, from the blank place where a mouth should sit, came Tom’s voice. “Rory?” Every muscle in her body locked. The second figure leaned forward and echoed him, softer. “Rory?” The third gave a broken little laugh in Tom’s exact tone, the one he used at work when he dropped a tray and hoped charm would save him. Aurora’s stomach clenched so hard it hurt. “You don’t get to do that.” She lashed the iron wire out. The end sliced through the air with a sharp hiss and struck the nearest figure across its chest. It recoiled at once. No scream, no burst of smoke, only a violent folding in on itself, cloth crumpling around emptiness. The smell of pond water thickened. The other two rushed sideways with impossible speed, not charging but skittering from angle to angle, always at the edge of sight, enough to keep her turning. The portal behind her widened with a wet tearing sound. Aurora risked one glance over her shoulder. The crack in the ground had become a narrow vertical slit standing in mid-air above the pale patch, red at the edges, black at the core. It looked wrong in the way a wound looked wrong, less an opening than an injury in the world. The pendant pulsed so hard it hurt against her palm. A hand reached out of the slit. Not one of the blank things. This hand looked human, mud-streaked and trembling, the fingernails bitten to the quick. “Help,” Tom gasped from inside the dark. Both pale figures lunged for Aurora at the same instant.
created_at"2026-03-06T12:32:43.947Z" 3/6/2026, 12:32:43 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency444
moderation_latency(null)
generation_time57020
tokens_prompt4560
tokens_completion2711
native_tokens_prompt4064
native_tokens_completion2273
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3840
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"completed"
usage0.035615
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_01b7e38805dcf1e90169aac96c02408194854edce83c48aef1"
is_byokfalse
latency148
model_permaslug"openai/gpt-5.4-20260305"
provider_name"OpenAI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1772800363-If2tcuZJVNpUpayBwpnB"
upstream_id"resp_01b7e38805dcf1e90169aac96c02408194854edce83c48aef1"
total_cost0.035615
cache_discount0.00864
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences17
tagDensity0.471
leniency0.941
rawRatio0
effectiveRatio0
88.96% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1811
totalAiIsmAdverbs4
found
0
adverb"sharply"
count2
1
adverb"slowly"
count1
2
adverb"softly"
count1
highlights
0"sharply"
1"slowly"
2"softly"
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)
50.30% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1811
totalAiIsms18
found
0
word"loomed"
count1
1
word"pulse"
count2
2
word"silence"
count2
3
word"echo"
count1
4
word"churned"
count1
5
word"measured"
count1
6
word"footsteps"
count1
7
word"familiar"
count1
8
word"weight"
count1
9
word"lurched"
count1
10
word"tracing"
count1
11
word"wavered"
count1
12
word"echoed"
count1
13
word"charm"
count1
14
word"stomach"
count1
15
word"pulsed"
count1
highlights
0"loomed"
1"pulse"
2"silence"
3"echo"
4"churned"
5"measured"
6"footsteps"
7"familiar"
8"weight"
9"lurched"
10"tracing"
11"wavered"
12"echoed"
13"charm"
14"stomach"
15"pulsed"
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
narrationSentences190
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences190
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences199
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1811
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1740
uniqueNames9
maxNameDensity0.98
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Carter1
Heartstone1
Grove4
Park1
Fae1
Tom7
Aurora17
Click2
Hel1
persons
0"Carter"
1"Grove"
2"Fae"
3"Tom"
4"Aurora"
places
0"Park"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences116
glossingSentenceCount1
matches
0"sounded like someone had found a joke in a"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches6
per1kWords3.313
wordCount1811
matches
0"not fully, but it felt held at arm’s length"
1"not forward, not back, but sideways, as if a figure had folded itself through the dark"
2"not back, but sideways, as if a figure had folded itself through the dark"
3"not a flutter but a grip"
4"not understood what they were doing, but they had done enough"
5"not charging but skittering from angle to angle, always at the edge of sight"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences199
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs81
mean22.36
std22.93
cv1.026
sampleLengths
019
182
29
314
498
54
61
747
882
987
1031
1137
121
1320
146
1559
1613
1742
1820
1969
206
2112
2222
2311
2425
2534
263
274
2849
2926
303
3149
3215
3333
3426
354
3622
3728
381
3913
4010
413
4263
433
441
458
461
472
4811
4942
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences190
matches
0"being tested"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs274
matches
0"were doing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences199
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1750
adjectiveStacks0
stackExamples(empty)
adverbCount61
adverbRatio0.03485714285714286
lyAdverbCount14
lyAdverbRatio0.008
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences199
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences199
mean9.1
std7.71
cv0.847
sampleLengths
019
128
210
310
434
56
63
714
86
914
1023
118
1227
1320
144
151
166
174
1826
1911
2011
2146
229
2316
2413
2530
2615
273
285
299
3012
316
3225
339
344
352
3612
377
381
392
401
414
424
4312
446
455
466
475
4817
4912
59.13% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3969849246231156
totalSentences199
uniqueOpeners79
85.47% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences156
matches
0"Even empty ones had life"
1"Sometimes stories survived because they"
2"Only a dark so dense"
3"Then, from the blank place"
ratio0.026
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences156
matches
0"Her torch beam skimmed across"
1"She did not want to"
2"she muttered to no one"
3"She ducked past the last"
4"Their scent rolled up in"
5"She stopped and listened."
6"Her phone had lost signal"
7"It still showed the time,"
8"He had laughed when Aurora"
9"He was nineteen."
10"She rubbed her thumb against"
11"Her voice landed badly."
12"It did not echo."
13"She rose and walked deeper"
14"It answered something."
15"Its silver chain had twisted"
16"She untangled it with careful"
17"She approached with measured steps."
18"She crossed the distance fast,"
19"she said, too softly for"
ratio0.244
91.41% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount115
totalSentences156
matches
0"Aurora Carter caught her sleeve"
1"The standing stone loomed on"
2"Her torch beam skimmed across"
3"She did not want to"
4"The Heartstone pendant had already"
5"she muttered to no one"
6"She ducked past the last"
7"Richmond Park had not vanished,"
8"The usual city murmur, planes,"
9"The clearing stretched wider than"
10"Wildflowers crowded the ground in"
11"Their scent rolled up in"
12"She stopped and listened."
13"That was the first wrong"
14"Parks were never silent."
15"Here, silence sat in the"
16"Aurora shifted the strap of"
17"Her phone had lost signal"
18"It still showed the time,"
19"The reason she had come"
ratio0.737
96.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences156
matches
0"Before, its carved face had"
1"Now it angled toward her."
2"Whoever had marked the ground"
ratio0.019
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences67
technicalSentenceCount1
matches
0"The Heartstone pendant had already begun to warm against her chest, a slow, steady pulse through wool and skin, as if it had found a second heartbeat and meant …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount0
matches(empty)
32.35% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount2
fancyTags
0"she muttered (mutter)"
1"Tom gasped (gasp)"
dialogueSentences17
tagDensity0.412
leniency0.824
rawRatio0.286
effectiveRatio0.235
90.1259%