Run: 2026-03-09-01KK9QKZAA9MQV1KZ75YK21FS2

Run Details

Duration:
2m 12s
Cost:
$0.068810
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 slipped between the ancient oak stones and hissed as the Heartstone bit hot against her chest. She caught the nearest trunk with one hand, steadied herself, and looked back through the gap she had just crossed. The park path had gone. In its place stood a wall of dark yew, thick as felt, with no break in it and no sign that London sat on the far side, full of roads, sirens, kebab vans, and people who would have laughed at her for following a warm pendant into a hidden grove. “Fine,” she said. Her voice fell flat. The clearing swallowed it. She took the pendant in her fingers. The deep crimson stone pulsed with a faint inner glow, warm as breath. It had started at her throat while she locked up her flat above Silas’ bar. A gentle tap at first. Then a steady heat all the way on the train. By the park gate it had felt alive. She could have ignored it. She had ignored stranger things since coming to London. But the pendant had never led her anywhere before, and gifts from unknown benefactors did not earn trust by staying mysterious. The silver chain slid over the small crescent scar on her left wrist when she let it drop. The touch grounded her. Skin. Metal. Pain. Real. Ahead, the grove opened in layers. Wildflowers spread over the moss in dense drifts, foxgloves and cornflowers and white roses, all blooming at once where they had no right to. The standing stones marked a rough circle around the clearing, each one grown through with old oak roots that bulged and twisted over their faces. Their surfaces looked too smooth in places, rubbed by hands or rain or something patient with more time than either. Aurora reached into her jacket pocket and took out the thick black marker she used on takeaway bags. Practical. Start with proof. She drew a clean cross on the entry stone, then stepped away and counted ten paces. When she turned back, the cross had bled into the bark and sunk beneath it, dark and blurred, like a bruise under skin. “No,” she said. She went back, touched the mark, and found only dry wood. A laugh rang out somewhere to her right. Not loud. Not gleeful. A short burst, clipped off at the end, like someone had put a hand over a mouth. Aurora stood still. Nothing moved. The flowers held their places. A pale moth lifted from one bloom and vanished into the dark above. Beyond the stone ring, the trees rose close and crowded. Their branches wove so tight that the sky showed only in torn slivers. Night pressed there, deeper than it should have been. She took out her phone. No signal. That meant little in parts of Richmond. She opened the compass. The needle spun twice, stilled, then pointed at her. “Cute.” She put the phone away. The ground dipped towards the centre of the grove. Moss cushioned her boots, thick enough to hush each step. After the third pace she heard another step behind her, soft and delayed, heel then toe. Aurora stopped. The sound came once more. Heel. Toe. Silence. Her throat tightened. She let it. Panic did not help. Facts did. She breathed in through her nose and caught crushed green things, wet bark, and something faintly sweet under it all. Apples left too long in a cellar. She moved again, this time faster, and counted under her breath. “One, two, three, four.” Nothing answered. At seven, a foxglove bent sideways at the edge of her vision, not with the sway of a stem but with the neat fold of a finger. She turned. Only flowers. Tall, purple bells drooping over black mouths. Aurora crouched and studied the nearest stalk. No wind. No insect weight. The stem stood upright and still. She rose. A low metallic clink drifted through the trees. Then another. A spoon against china. A soft scrape like a chair leg on a floorboard. Her mouth went dry. She knew those sounds. She had heard them for months in the narrow kitchen at the Golden Empress when Yu-Fei stacked bowls for the dinner rush. The place had its own rhythm, fast and sharp. Cleaver, wok, ladle, plate. Human noise. Safe noise. A hiss followed, oil hitting heat. Then a voice, faint and close at once. “Rory, table three’s gone cold.” Yu-Fei’s accent sat exactly right on the words. Flat, impatient, half a bark. Aurora did not turn. “Not him,” she said. The grove kept still. Then, from ahead of her, the same voice spoke again. “Then who?” That made her look. Nothing stood among the flowers. No man in an apron. No kitchen door. No restaurant light spilling over tiles. Just the grove, patient and bright in all the wrong places. Some of the blossoms gave off a colour of their own, a weak pearl sheen under the dark, enough to show their petals and leave the spaces between them black. The pendant throbbed harder. Heat spread over her sternum. She moved towards it. As she walked, the sounds changed. The china clinks died. In their place came a soft rustle that matched her pace and broke from it now and then, circling wide, slipping behind stones and trunks. Once she heard breathing, low and measured. Once she heard a child hum three notes and stop. Once she heard her own shoe scuff moss several feet to her left while both her boots stood still. The centre of the grove came into view all at once. An oak rose there, broader than the rest, its trunk split down the middle. The gap in it was narrow at the base and wide above, a dark wound packed with shadow. Roots arched out from the trunk like knotted limbs and disappeared under a ring of old stones. At the foot of the tree lay a patch of bare earth, round and black, untouched by moss or flower. It had no leaves on it. No fallen twig. Nothing. Aurora stopped at the edge of the ring. The Heartstone burned now. She pulled it free of her shirt. Its glow had deepened, red under red, like an ember under glass. “Hel portal,” she murmured. The word tasted wrong here. A thin sound came from the split in the oak. Not a voice. Not wind. More like someone drew one fingernail, slow and careful, down the inside of a wooden box. Aurora’s shoulders locked. She made herself relax them. Think. She stripped the insulated delivery strap from across her body and set the bag on a stone. Then she took a folded receipt from her pocket, tore off a strip, and dropped it on the moss behind her. White on green. A breadcrumb. If the grove meant to turn her around, she wanted a witness, even a flimsy paper one. She stepped left round the black earth. The receipt strip had gone. Aurora looked down. Bare moss. She had heard it leave, no footfall, no flutter. “Right,” she said. A voice answered from behind the oak, her own voice with her own Cardiff edge, every vowel perfect. “Right.” Cold climbed under her skin. She moved to put a standing stone at her back. The surface felt damp and ridged through her jacket. Better. One direction at a time. She scanned the dark between the trunks. Something pale crossed there, twenty feet out. Human height. Black hair against a white neck. A woman’s back. Her build. Her coat. Aurora pushed off the stone and followed before the thing could vanish. It passed between two yews and did not bend a branch. Aurora cut across the flowers, boots sinking into moss. The pendant jerked on its chain, pulling her chest towards the oak even while she chased the figure away from it. “Oi.” The woman stopped. She stood with one shoulder turned, head bowed. Hair hung straight to the shoulder blades. Aurora saw the line of a cheek, a sharp chin, the slope of a nose she knew from mirrors and bad front cameras. Then the head tilted further, further, far beyond the give of any human neck. Aurora halted. The figure slid behind a trunk. She lunged after it and found empty space, bark, flowers, nothing else. No footprint. No broken stem. The moss lay smooth. A smell hit her then, thick and damp. Not blood. Soil opened after a spade. Old stone under a church. Lilies left in water until they rotted at the stems. The Heartstone flared so hot she swore and dropped it against her shirt. It swung back, thudded once against her chest, and pointed straight at the split oak. Not at the tree. At the dark in the tree. The grove had gone quiet. No hum. No rustle. No false kitchen. No hidden footstep. Silence pressed against her ears until she heard her own pulse in her jaw. Then, from every side at once, whispers rose. Rory. Aurora. Laila. Carter. Malphora. Each name wore a different mouth. A woman old and cracked. A child. A man. A voice she had never heard but knew at once hated her. Her hands curled. She kept them loose by force. “If you want a conversation, pick one face,” she said. The split in the oak widened by an inch. Wood groaned. Roots shifted over stone with a slow, heavy grind. Aurora took one step back. The black patch of earth at the base of the tree rippled. Not like water. Water had softness. This moved like fabric pulled from underneath, a stretch and fold and drag. The middle sank, opening into a depth that swallowed the weak flower-light whole. The whispers stopped. A shape moved under the dark surface. Aurora reached for the marker in her pocket, then the phone, then the short paring knife she kept in her delivery bag for loose tape and stubborn knots. Stupid weapon. Better than fingernails. She snatched it free. The silver chain cut across her scar as the pendant yanked forward again. The surface broke. A hand rose from the blackness and gripped the edge of the earth. Human hand. Pale. Slim. Dirt packed under the nails. On the left wrist, clear in the weak red glow, sat a small crescent scar.
created_at"2026-03-09T16:41:53.245Z" 3/9/2026, 4:41:53 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency66201
moderation_latency(null)
generation_time131798
tokens_prompt4560
tokens_completion3255
native_tokens_prompt4064
native_tokens_completion4486
native_tokens_completion_images0
native_tokens_reasoning2304
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"
usage0.06881
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0a60593dde1ee9940169aef85153388194a75cbce374bd221c"
is_byokfalse
latency180
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-1773074513-QZYTzAxmfG3EWr0SH5mI"
upstream_id"resp_0a60593dde1ee9940169aef85153388194a75cbce374bd221c"
total_cost0.06881
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.583
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1723
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
70.98% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1723
totalAiIsms10
found
0
word"pulsed"
count1
1
word"silence"
count2
2
word"weight"
count1
3
word"throbbed"
count1
4
word"measured"
count1
5
word"footfall"
count1
6
word"perfect"
count1
7
word"scanned"
count1
8
word"pulse"
count1
highlights
0"pulsed"
1"silence"
2"weight"
3"throbbed"
4"measured"
5"footfall"
6"perfect"
7"scanned"
8"pulse"
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
narrationSentences222
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences222
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences228
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1723
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions30
wordCount1692
uniqueNames9
maxNameDensity0.95
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Heartstone3
London2
Richmond1
Golden1
Empress1
Yu-Fei2
Cardiff1
Aurora16
Human3
persons
0"Heartstone"
1"Yu-Fei"
2"Aurora"
places
0"London"
1"Richmond"
2"Golden"
3"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences105
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.58
wordCount1723
matches
0"not with the sway of a stem but with the neat fold of a finger"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences228
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs99
mean17.4
std19.91
cv1.144
sampleLengths
017
175
23
38
493
526
675
718
84
939
103
1111
1229
133
1452
1527
161
175
1835
192
207
211
2239
2311
244
252
2627
2711
2818
292
3024
3147
326
338
345
3513
364
374
3814
392
404
4160
429
434
4471
4511
4679
478
4823
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences222
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs255
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences228
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount146
adjectiveStacks0
stackExamples(empty)
adverbCount2
adverbRatio0.0136986301369863
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences228
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences228
mean7.56
std6.84
cv0.905
sampleLengths
017
120
25
350
43
54
64
77
813
915
105
1110
128
135
149
1521
1618
174
181
191
201
211
226
2324
2425
2520
2618
271
283
2916
3023
313
3211
338
342
352
3617
373
382
395
4013
4110
4213
439
445
452
467
474
489
491
50.29% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.35964912280701755
totalSentences228
uniqueOpeners82
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount12
totalSentences168
matches
0"Then a steady heat all"
1"Then a voice, faint and"
2"Flat, impatient, half a bark."
3"Then, from ahead of her,"
4"Just the grove, patient and"
5"Once she heard breathing, low"
6"Once she heard a child"
7"Once she heard her own"
8"More like someone drew one"
9"Then she took a folded"
10"Then the head tilted further,"
11"Then, from every side at"
ratio0.071
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences168
matches
0"She caught the nearest trunk"
1"Her voice fell flat."
2"She took the pendant in"
3"It had started at her"
4"She could have ignored it."
5"She had ignored stranger things"
6"Their surfaces looked too smooth"
7"She drew a clean cross"
8"She went back, touched the"
9"Their branches wove so tight"
10"She took out her phone."
11"She opened the compass."
12"She put the phone away."
13"Her throat tightened."
14"She let it."
15"She breathed in through her"
16"She moved again, this time"
17"Her mouth went dry."
18"She knew those sounds."
19"She had heard them for"
ratio0.22
96.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount122
totalSentences168
matches
0"Aurora slipped between the ancient"
1"She caught the nearest trunk"
2"The park path had gone."
3"Her voice fell flat."
4"The clearing swallowed it."
5"She took the pendant in"
6"The deep crimson stone pulsed"
7"It had started at her"
8"A gentle tap at first."
9"She could have ignored it."
10"She had ignored stranger things"
11"The silver chain slid over"
12"The touch grounded her."
13"Wildflowers spread over the moss"
14"The standing stones marked a"
15"Their surfaces looked too smooth"
16"Aurora reached into her jacket"
17"She drew a clean cross"
18"She went back, touched the"
19"A laugh rang out somewhere"
ratio0.726
29.76% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences168
matches
0"If the grove meant to"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount3
matches
0"In its place stood a wall of dark yew, thick as felt, with no break in it and no sign that London sat on the far side, full of roads, sirens, kebab vans, and pe…"
1"In their place came a soft rustle that matched her pace and broke from it now and then, circling wide, slipping behind stones and trunks."
2"The middle sank, opening into a depth that swallowed the weak flower-light whole."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
66.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences12
tagDensity0.5
leniency1
rawRatio0.167
effectiveRatio0.167
93.8202%