Run: 2026-03-09-01KK9PV5NBFF640GA0Y18G8XKP

Run Details

Duration:
1m 54s
Cost:
$0.075545
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
The pendant seared against Rory’s chest as she squeezed between two oak-dark standing stones and stumbled into the clearing. “Christ.” She yanked the silver chain off her skin for a second, hissing through her teeth, then let it fall back under her collar. The deep crimson stone did not glow so much as breathe. Warm, cool, warm again. A steady pulse, like a second heart that had taken offence at being ignored all week. Behind her, the park path had already thinned into a black slit between trunks. She turned at once and fixed the way out in her head. Two leaning stones, one split near the base, a crooked ash snagged with old ribbon, then the path. Easy. In and out. Find what had set the thing off. Leave before the place decided to be clever. The Grove smelled wrong. Not foul, not rotten. Too sweet. Wildflowers crowded the clearing in thick drifts, white and blue and yellow under her torch, all in bloom though the rest of Richmond Park had long since gone plain and sensible. Their scent sat on the back of her tongue like perfume spilled in a lift. She had to swallow against it. Rory slipped her mobile from her pocket. No signal. That part did not surprise her. The battery did. Ninety-two per cent at the stones, fifty-eight now. “Brilliant.” She opened the stopwatch and set it running. Then she crouched by the nearest standing stone and wedged a folded Golden Empress receipt under its rough base, bright red print facing out. If the Grove chewed time, she wanted proof of where she had started. If it moved paths, she wanted proof of that too. The pendant knocked once against her sternum. Hard. “All right. Lead on.” Her own voice sounded thin here, trimmed down to the bare shape of words. No echo. No carry. The Grove swallowed sound and kept it. She moved deeper into the flowers, boots brushing damp stems. The clearing looked small from the edge. It stretched once she entered it. A child’s trick of a room with mirrors, except there were no mirrors, only more flowers, more trees, more stones half-hidden in the dark as if the place had kept building itself while nobody watched. Her torch beam skimmed over foxglove bells and star-shaped white blooms she did not know by name. Moths flickered through the light and vanished. Every few steps the Heartstone grew hotter, then eased, as though it argued with itself. The warmth drew her left, then straight on, then left again. She stopped and listened. Nothing at first. Then, far off, a neat metallic tap-tap-tap. Rory held still. The sound came again, quick and even, with a pause after every sixth strike. A knife on a chopping block. Yu-Fei had that exact rhythm in the kitchen at Golden Empress, brisk as a metronome, her cleaver clipping through spring onions, duck skin, pork bone. Rory knew it well enough to hear the missing sizzle that should have followed. Knew it well enough to feel, for one weak second, the urge to call out and ask if she had finally lost her head. The chopping stopped. In the silence that followed, something breathed near her right shoulder. Rory swung the torch. Flowers. Stone. A silver-barked birch with its bark peeling in thin curls. Nothing else. She backed one step and forced her grip to loosen. A panicked hand shook. A loose hand did work. “Not funny.” The Grove gave her no answer. A petal drifted past her torch beam and landed on her sleeve. It was warm. She brushed it off and kept walking. The ground changed underfoot. Soft leaf mould gave way to a firmer patch, almost smooth, as though many feet had worn it down. That made no sense. The clearing was hidden. People did not stroll in and out for a look round. She angled the torch down. A path ran through the flowers. Not a human path. No crushed stems. No mud. The blooms simply stopped in a thin winding line, leaving bare earth the colour of old tea. The path bent around a ring of stones and vanished behind a yew so broad it looked less like a tree than a wall. The pendant throbbed hot enough to hurt. Rory crouched and touched the path with two fingers. The soil felt cold, colder than the air, a cellar chill that sank straight into her knuckles. She jerked her hand back. Then she noticed the flowers on either side. All their heads faced the path. Not turned toward the torch. Toward the path itself, as if something had passed and every stem had craned to watch. A rustle stirred behind her. She rose and turned in one clean motion. Her light caught the standing stone where she had left the receipt. No. Not where she had left it. The stone stood twenty feet farther back, across a swathe of flowers she knew she had crossed. Rory stared at the red corner of the receipt poking from under the base. Same stone. Same split near the bottom. The Grove had shifted it, or shifted her, or changed the distance between one breath and the next. None of the options pleased her. “All right,” she said softly, because calm needed noise, “you can pack that in.” Something moved between two trees to her left. Not a shape. Less than that. The dark there drew in on itself and slid behind a trunk before the torch reached it. Her scalp tightened. She took three steps sideways, fast, so she could catch the thing emerging on the other side. Nothing came out. The pendant lurched against her chest with such force that the chain bit the back of her neck. She grabbed it through her shirt. The stone pulsed hard under her palm, pulling towards the yew. Rory exhaled once. Slow in, slow out. Then she took the narrow path. The yew swallowed her torchlight. Its branches drooped low and thick, making a tunnel that smelled of resin and earth packed shut for years. The sweet flower scent fell away. In its place came a colder smell, clean and thin, like air from a freezer left open in an empty room. Halfway through, she heard footsteps behind her. One. Two. Three. They matched her pace with neat, patient care. Rory stopped. The footsteps took one more step after hers and stopped too. Every muscle in her back drew tight. She did not spin at once. She slipped her hand into her jacket pocket instead and closed her fingers around the small folding knife she used for parcel tape and string. It would do very little against anything worth fearing, but metal in hand counted for something. “Do us both a favour,” she said into the dark, “and be honest about what you are.” Silence. Then, from behind her, in her own voice and her own flat Cardiff edge, “Do us both a favour, and be honest about what you are.” The words came back perfect, right down to the hard little snap on favour. Not an echo. An answer. Rory turned. The tunnel behind her stood empty, a black rib of branches and the faint spill of flowers beyond. No face. No body. Only the aftertaste of her own voice hanging in the needles. She walked on. Faster now. The tunnel opened into a second clearing. Smaller. Tighter. No riot of flowers here. Only a low ring of pale blooms around a patch of bare ground in the centre. The earth there had split from top to bottom in a line no wider than a finger. Dark sat in it, not shadow, not soil. A seam. As though the world had been sliced and the cut had forgotten to close. The Heartstone burned. Rory dragged it free of her shirt. The crimson gem glowed from within, dim but angry, and the silver chain quivered in her hand. Heat crawled across her palm. The seam in the ground gave off that same cellar-cold air, and when she angled the torch into it the beam did not strike earth. It slid down the crack and vanished, swallowed whole. “No,” she whispered. So that was why she had been dragged here. Not just Fae. Not just one of the city’s hidden rot spots with glamour painted over the edges. A Hel tear, small but real, opening inside a place that should never have allowed it. The pale flowers around the seam trembled. Not in wind. In rhythm. One after another, clockwise around the ring, they dipped their heads and rose. A curtsy. A bow. A welcome. Rory stepped back. Her heel struck root. The pendant kicked in her grip so hard she nearly dropped it. A voice drifted up from the crack. Child’s voice. Soft. Clear. “Did you bring the key?” Rory’s throat closed. The question carried no strain, no ghostly hiss, nothing theatrical. It sounded like a child behind a closed door, polite enough to be invited in. “I brought nothing for you.” The seam widened by a hair. Cold burst from it and struck her face. Not winter cold. Dead cold. The sort that lived in hospital corridors after visiting hours, in walk-in freezers, in the metal rails of a mortuary drawer. Her eyes watered at once. The child laughed. Another sound answered from the trees beyond the clearing, a second laugh, lower, older. Then another from her right. Then another behind the yew. Not children now. Men. Women. Voices she knew and voices she did not, all keeping the same light amusement, as though they had shared a private joke at her expense. Rory backed towards the tunnel entrance and hit bark. The yew branches had knitted shut behind her. She spun and shoved at them. The boughs looked thin. They did not move. Their needles pricked her palms and held firm as wire. The voices in the trees began to speak at once, low and overlapping. Aurora. Rory. Laila. Carter. The names came from different mouths, different ages, different moods. One fond. One sharp. One coaxing. One full of a private disgust that made the hair rise on her arms. Then, close to her ear, warm enough to feel real breath, “Malphora.” Rory whipped round, knife up. No one stood there. The pale flowers had all turned towards her. She slammed the knife into the branch wall and tore sideways, sawing for a gap. Green needles rained over her hands. Resin smeared the handle. The branch gave a little, then healed under the blade, wood flowing slow as wax. The voices swelled behind her. The child in the crack spoke again, no longer polite. “You have it. I can hear it.” The pendant jerked in Rory’s hand. The silver chain snapped. The Heartstone ripped free of her grip and shot across the clearing like a hooked fish. Rory lunged. Her fingers brushed hot crystal. Missed. The gem struck the ground beside the seam and skidded to the edge. The earth split with a sound like a sigh drawn through teeth. The crack opened wide enough for a hand. It came up pale and small, with dirt packed under the nails and a silver chain looped round its wrist, and closed around the Heartstone. Then a second hand seized the rim from below, and something began to climb out.
created_at"2026-03-09T16:28:20.537Z" 3/9/2026, 4:28:20 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency52429
moderation_latency(null)
generation_time113669
tokens_prompt4560
tokens_completion3084
native_tokens_prompt4064
native_tokens_completion4359
native_tokens_completion_images0
native_tokens_reasoning1980
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"completed"
usage0.075545
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_07611619a11abd0f0169aef5249f7c8194b13d1cdfc0f124aa"
is_byokfalse
latency160
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-1773073700-R8CTUOInivg5H4V5eaL4"
upstream_id"resp_07611619a11abd0f0169aef5249f7c8194b13d1cdfc0f124aa"
total_cost0.075545
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
33.33% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount1
adverbTags
0"she said softly [softly]"
dialogueSentences12
tagDensity0.25
leniency0.5
rawRatio0.333
effectiveRatio0.167
94.74% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1902
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"very"
count1
highlights
0"softly"
1"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)
55.31% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1902
totalAiIsms17
found
0
word"pulse"
count1
1
word"echo"
count2
2
word"flickered"
count1
3
word"warmth"
count1
4
word"silence"
count2
5
word"throbbed"
count1
6
word"chill"
count1
7
word"lurched"
count1
8
word"pulsed"
count1
9
word"footsteps"
count2
10
word"perfect"
count1
11
word"quivered"
count1
12
word"trembled"
count1
13
word"crystal"
count1
highlights
0"pulse"
1"echo"
2"flickered"
3"warmth"
4"silence"
5"throbbed"
6"chill"
7"lurched"
8"pulsed"
9"footsteps"
10"perfect"
11"quivered"
12"trembled"
13"crystal"
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
narrationSentences225
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences225
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences234
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1902
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1844
uniqueNames12
maxNameDensity0.98
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Rory18
Grove5
Richmond1
Park1
Golden2
Empress2
Heartstone4
Silence1
Cardiff1
Fae1
Hel1
One6
persons
0"Rory"
1"Grove"
2"Heartstone"
3"One"
places
0"Richmond"
1"Park"
2"Golden"
3"Silence"
4"Cardiff"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences125
glossingSentenceCount1
matches
0"sounded like a child behind a closed door"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1902
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences234
matches
0"force that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs103
mean18.47
std18.94
cv1.026
sampleLengths
019
11
254
363
462
526
61
755
88
94
1025
1158
1250
134
1410
1517
166
1763
183
1911
204
2114
2219
232
2421
257
2647
276
2850
297
3031
318
326
3321
345
3520
367
3717
3845
3914
408
4143
423
4335
4413
4551
467
471
481
491
99.03% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences225
matches
0"being ignored"
1"was hidden"
2"been sliced"
3"been dragged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs286
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences234
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1855
adjectiveStacks1
stackExamples
0"same cellar-cold air,"
adverbCount63
adverbRatio0.033962264150943396
lyAdverbCount8
lyAdverbRatio0.00431266846361186
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences234
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences234
mean8.13
std6.56
cv0.807
sampleLengths
019
11
223
311
44
516
614
712
818
91
103
117
128
134
144
152
1631
1715
186
197
202
216
223
238
241
258
2624
2713
2810
297
301
314
3214
332
342
357
3610
377
386
3935
4017
417
4215
4311
444
453
467
473
4814
496
44.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.32051282051282054
totalSentences234
uniqueOpeners75
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount11
totalSentences180
matches
0"Then she crouched by the"
1"Then, far off, a neat"
2"Then she noticed the flowers"
3"Then she took the narrow"
4"Then, from behind her, in"
5"Only the aftertaste of her"
6"Only a low ring of"
7"Then another from her right."
8"Then another behind the yew."
9"Then, close to her ear,"
10"Then a second hand seized"
ratio0.061
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences180
matches
0"She yanked the silver chain"
1"She turned at once and"
2"Their scent sat on the"
3"She had to swallow against"
4"She opened the stopwatch and"
5"Her own voice sounded thin"
6"She moved deeper into the"
7"It stretched once she entered"
8"Her torch beam skimmed over"
9"She stopped and listened."
10"She backed one step and"
11"It was warm."
12"She brushed it off and"
13"She angled the torch down."
14"She jerked her hand back."
15"She rose and turned in"
16"Her light caught the standing"
17"she said softly, because calm"
18"Her scalp tightened."
19"She took three steps sideways,"
ratio0.211
93.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount132
totalSentences180
matches
0"The pendant seared against Rory’s"
1"She yanked the silver chain"
2"The deep crimson stone did"
3"A steady pulse, like a"
4"She turned at once and"
5"The Grove smelled wrong."
6"Wildflowers crowded the clearing in"
7"Their scent sat on the"
8"She had to swallow against"
9"Rory slipped her mobile from"
10"That part did not surprise"
11"The battery did."
12"She opened the stopwatch and"
13"The pendant knocked once against"
14"Her own voice sounded thin"
15"The Grove swallowed sound and"
16"She moved deeper into the"
17"The clearing looked small from"
18"It stretched once she entered"
19"A child’s trick of a"
ratio0.733
83.33% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences180
matches
0"If the Grove chewed time,"
1"If it moved paths, she"
2"As though the world had"
ratio0.017
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount4
matches
0"A child’s trick of a room with mirrors, except there were no mirrors, only more flowers, more trees, more stones half-hidden in the dark as if the place had kep…"
1"Soft leaf mould gave way to a firmer patch, almost smooth, as though many feet had worn it down."
2"The sort that lived in hospital corridors after visiting hours, in walk-in freezers, in the metal rails of a mortuary drawer."
3"Voices she knew and voices she did not, all keeping the same light amusement, as though they had shared a private joke at her expense."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
66.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences12
tagDensity0.25
leniency0.5
rawRatio0.333
effectiveRatio0.167
91.5698%