Run: 2026-03-09-01KKAC3F0506XCAX0QAB0EHXQ2

Run Details

Duration:
1m 3s
Cost:
$0.048230
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 shoved between two ancient oak stones and caught her sleeve on bark polished smooth by no human hand. The Heartstone pendant thudded once against her sternum, hot through her shirt, and she froze with one foot still half raised. The clearing ahead looked close enough to cross in a dozen strides. The path behind her had already narrowed into a seam between trunks. “Right,” she said to nobody. “Subtle as ever.” She tugged her sleeve free and stepped into the Grove. Richmond Park had sat behind her in tidy pieces, gravel paths, distant lamps, the city held at arm’s length. Here, the place folded that order into something older and stranger. Wildflowers crowded the ground in thick drifts, foxgloves beside bluebells beside pale blooms she did not know, all of them open as if they answered to another season. The air carried a sweet, damp scent, green sap and crushed stems with a bright metal note underneath that set her teeth on edge. The pendant warmed again. That had brought her here. Three nights of it pulsing at random, never for long, then one steady beat when she crossed the park on a delivery shortcut and passed the old standing stones. She had doubled back. The pendant had gone hot enough to sting. She had left fast, told herself she would come back with someone sensible, then found nobody free, nobody who would hear “hidden Fae clearing in Richmond” and not either laugh or insist on joining her. So here she was, alone, with a torch in her coat pocket, trainers damp from grass, and the taste of bad choices sharp at the back of her tongue. The clearing held a hush so complete it felt constructed. No road noise. No bark of a dog. No aircraft. Her own breath sounded rude. Aurora crouched and pressed two fingers to the pendant through the fabric. Heat radiated into her skin in slow waves. “Hel portal,” she murmured. “If you’ve dragged me into a hole to the underworld on a Tuesday, I’ll be annoyed.” No answer came. The flowers stirred anyway. She straightened at once. Nothing touched them. No breeze moved through the trees. Yet a patch of white star-shaped blossoms near the centre of the clearing shivered, stems knocking together with a dry tick-tick-tick. Aurora kept still. The motion stopped. A fox, she thought first. Then she looked for a body under the stems, a red back, a tail, any ripple in the growth. Nothing. The flowers stood untouched, upright as soldiers. Her torch sat heavy in her pocket. She left it there. Light often helped. Light also announced your position, and she had the strong sense that this place already knew exactly where she stood. She moved in a slow arc round the clearing instead, boots sinking into deep moss. The ground gave too much underfoot. It felt layered, like old carpet spread over waterlogged boards. Every few steps the pendant pulsed, warmer, then cool, then warm again, like a second heart with poor rhythm. At the far side, the trees leaned inward over a low bank choked with ferns. Their trunks looked wrong. Not diseased. Not dead. More like each had grown while something underneath had twisted them in a patient grip. Bark ridged in spirals. Knots bulged like half-buried knuckles. Aurora reached one hand towards the nearest trunk and stopped short of touching it. The bark bore lines too neat for chance, long shallow scratches crossing one another in bands. Not letters. Not any script she knew. More like tally marks made by something that had lost count and kept going. A sound came from behind her. Not a footstep. A single soft clap. She turned so fast the pendant chain bit the back of her neck. The clearing lay empty. Flowers, stones, the black wall of trees. Nothing else. “Funny,” she said, voice low. Her own words dropped dead at her feet. The hush swallowed them whole. Aurora drew the torch and thumbed it on. A hard white beam sliced across the clearing. Petals flashed, dewed leaves gleamed, and shadows sprang up sharp and black behind every stem. The standing stones at the boundary looked taller from this side, each with lichened faces and dark seams that suggested split lips. She swept the light left, then right. Movement flicked near the edge of the beam. She whipped the torch back. Empty again. No, not empty. A cluster of tall purple foxgloves rocked from side to side, though nothing else moved around them. Aurora angled towards them, slow and deliberate. She watched the ground as much as the flowers, alert for tracks, depressions, any practical answer. She found none. Moss lay unbroken. A snail shell gleamed beside her shoe. When she reached the foxgloves, she held the torch low and examined their stems. One of the bells held a smear on the pale inner throat. Dark, glossy. Not sap. She crouched. Copper stung her nostrils. Blood. Fresh enough to shine. A small amount, no splash, no drag marks. One fingertip’s worth, wiped there by accident or design. Aurora’s scalp tightened. She rose at once and turned in a full circle, beam cutting over the ring of trees. “Who’s here?” Silence. Then, from deep among the trunks, a voice answered in a shape that only almost matched her own. “Who’s here?” Aurora did not move. The torch beam shook once in her hand. She locked her wrist. It had her tone, her cadence, even that dry edge she heard whenever she got cross. Yet the words came back flattened, stripped of breath, as if a throat made of wet leaves had pushed them out. “Not amusing,” she said. “Amusing.” The reply came from her left this time, close enough that she turned with a sharp step, light flaring over bark and fern and a narrow lane between two yews. No face. No body. Only darkness packed thick between trunks. Her free hand slid to the crescent scar on her left wrist, thumb rubbing the old pale line before she caught herself and dropped it. A childhood habit. Count, assess, move. Panic spent energy and gave little in return. “Right then,” she said. “New plan.” She backed towards the standing stones. Not a retreat, she told herself, a reset. She kept the torch up, sweeping wide. The clearing no longer looked small. It stretched between one breath and the next, distances subtly skewed. The centre seemed farther than before. The boundary stones seemed to drift apart. Time moved oddly here. She knew that much. Distance, too, apparently. Something brushed past her ankle. Aurora lurched sideways with a sharp inhale and snapped the beam down. Flowers. Only flowers. Long white petals bent against her trainer, yet several stems lay flattened in a line leading away behind her, as if something low and careful had just slipped through them. The line ended three feet off, where the moss darkened in a rough oval. She approached despite every alarm her body rang. The oval sat in a shallow dip in the earth. It looked wet. Not water. The torchlight did not reflect cleanly off it. The surface swallowed light and returned a dull red glimmer from somewhere below. The Heartstone pendant burned. Aurora hissed and grabbed it through her shirt. The stone pulsed hard enough to feel alive. Once. Twice. Faster now. In answer, the dark oval on the ground gave a little quiver, like skin reacting to touch. “Oh, brilliant.” A portal. Or the start of one. She scanned the clearing again, furious at the thought of being right in the worst possible direction. If that thing opened fully, if something used it, she needed bearings, exits, any edge she could use. The standing stones stood where they had stood, but not all of them. She counted five at the boundary where there had been four. The fifth stone leaned inward, thin and tall. It had not been there before. Aurora lifted the torch beam to its full height and felt her throat close. Not a stone. A figure stood among the stones in something pale and trailing. Human height, human outline, head bent a fraction too far to one side. The cloth, if cloth it was, hung in long strips like old petals. No face showed beneath the fall of it. The figure did not move. Aurora’s voice came clean, cool, the one she used with drunks and liars and men who thought volume counted as power. “You picked the wrong woman for theatrics.” The figure lifted one hand and pointed at her chest. The pendant flared hot. Then the thing vanished. No blur. No step. One heartbeat it stood there, the next the gap between the stones held only darkness. Aurora swung the torch beam wildly and caught motion to her right, white slipping between trunks. She ran after it before caution could get a word in. Branches clawed at her coat. Ferns whipped her shins. The ground dipped and rose without warning, roots swelling under moss like bones under skin. The white shape glimmered ahead, always half hidden, always just beyond the beam. It never rustled the leaves it passed. It glided through them, and the leaves leaned after it in a faint, greedy whisper. Aurora ducked under a low branch and burst into another clearing, smaller than the first, ringed by hawthorn. She stopped so hard her trainers skidded in the loam. No figure. In the centre stood a stone basin crusted with lichen, waist high and old enough to belong in a ruin. Black water filled it to the brim. The surface lay smooth as glass. Her torch beam hit it. The water rippled at once, though she had not touched it. Concentric rings spread out, slow and neat. In the middle, something rose. Not a body. A face. Her face. Bright blue eyes stared up from the water, wider than her own, irises blown huge with dark. Black hair framed cheeks too white to hold blood. The mouth opened. “Don’t let it hear your name.” Aurora jerked back from the basin. The reflected face lunged up with the motion, mouth stretching, water peeling from it in clear ropes. A hand clamped over the rim from the inside. Long fingers, jointed wrong, nails pale as thorn tips. Aurora swung the torch like a club. The metal body cracked against the hand with a sick, woody snap. The thing in the basin shrieked, not loud but piercing, a sound like cut glass drawn across plate. Water burst upward in a black sheet. The torch flew from her hand and spun into the hawthorn, beam strobing madly through branches. Darkness swallowed the clearing. Then voices woke all around her, dozens of them, hidden in the thorn ring, each one wearing a stolen human throat. “Aurora.” “Rory.” “Laila.” “Carter.” “Malphora.” The last name came out with relish, dragged soft and slow through many mouths at once. Something wet slapped onto the leaves behind her. Another landed to her left. Another in front. The pendant turned scorching hot against her skin, and from the basin came the scrape of more hands finding the stone rim.
created_at"2026-03-09T22:39:52.342Z" 3/9/2026, 10:39:52 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5570
moderation_latency(null)
generation_time63293
tokens_prompt4560
tokens_completion2997
native_tokens_prompt4064
native_tokens_completion2538
native_tokens_completion_images0
native_tokens_reasoning174
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"
usage0.04823
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_090859757a5993cc0169af4c38706081939c34abae74451b74"
is_byokfalse
latency161
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-1773095992-oxc7BpA5palxuMGHWydm"
upstream_id"resp_090859757a5993cc0169af4c38706081939c34abae74451b74"
total_cost0.04823
cache_discount(null)
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
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences20
tagDensity0.3
leniency0.6
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1865
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)
78.55% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1865
totalAiIsms8
found
0
word"constructed"
count1
1
word"pulsed"
count2
2
word"flicked"
count1
3
word"silence"
count1
4
word"lurched"
count1
5
word"scanned"
count1
6
word"whisper"
count1
highlights
0"constructed"
1"pulsed"
2"flicked"
3"silence"
4"lurched"
5"scanned"
6"whisper"
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
narrationSentences202
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences202
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences216
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1865
ratio0
matches(empty)
89.29% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions1
matches
0"Not a retreat, she told herself, a reset."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1806
uniqueNames5
maxNameDensity0.89
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Heartstone2
Grove1
Park1
Aurora16
One3
persons
0"Aurora"
1"One"
places
0"Grove"
1"Park"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences117
glossingSentenceCount1
matches
0"seemed farther than before"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.536
wordCount1865
matches
0"not loud but piercing, a sound like cut glass drawn across plate"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences216
matches
0"knew that much"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs97
mean19.23
std19.74
cv1.026
sampleLengths
019
145
28
310
482
54
6110
725
820
920
107
1134
126
1332
1434
1550
1647
1751
186
197
2013
2113
225
2313
248
2552
268
277
2820
2950
3012
314
326
335
3437
352
361
3718
382
3916
4037
414
421
4340
4439
456
4651
4711
485
4912
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences202
matches
0"was, hung"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs294
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences216
ratio0
matches(empty)
90.33% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1810
adjectiveStacks1
stackExamples
0"white star-shaped blossoms"
adverbCount80
adverbRatio0.04419889502762431
lyAdverbCount14
lyAdverbRatio0.0077348066298342545
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences216
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences216
mean8.63
std6.86
cv0.794
sampleLengths
019
121
212
312
45
53
610
719
811
928
1024
114
125
1329
144
158
1635
1729
1810
193
205
212
225
2312
248
254
2616
273
284
294
303
316
3221
333
343
355
3619
371
387
397
404
413
4220
4315
446
4510
4619
4715
484
492
47.53% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.33796296296296297
totalSentences216
uniqueOpeners73
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences173
matches
0"Then she looked for a"
1"More like each had grown"
2"More like tally marks made"
3"Then, from deep among the"
4"Only darkness packed thick between"
5"Then the thing vanished."
6"Bright blue eyes stared up"
7"Then voices woke all around"
ratio0.046
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences173
matches
0"she said to nobody"
1"She tugged her sleeve free"
2"She had doubled back."
3"She had left fast, told"
4"Her own breath sounded rude."
5"She straightened at once."
6"Her torch sat heavy in"
7"She left it there."
8"She moved in a slow"
9"It felt layered, like old"
10"Their trunks looked wrong."
11"She turned so fast the"
12"she said, voice low"
13"Her own words dropped dead"
14"She swept the light left,"
15"She whipped the torch back."
16"She watched the ground as"
17"She found none."
18"She rose at once and"
19"She locked her wrist."
ratio0.208
84.28% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount130
totalSentences173
matches
0"Aurora shoved between two ancient"
1"The Heartstone pendant thudded once"
2"The clearing ahead looked close"
3"The path behind her had"
4"she said to nobody"
5"She tugged her sleeve free"
6"Richmond Park had sat behind"
7"Here, the place folded that"
8"Wildflowers crowded the ground in"
9"The air carried a sweet,"
10"The pendant warmed again."
11"That had brought her here."
12"She had doubled back."
13"The pendant had gone hot"
14"She had left fast, told"
15"The clearing held a hush"
16"Her own breath sounded rude."
17"Aurora crouched and pressed two"
18"Heat radiated into her skin"
19"The flowers stirred anyway."
ratio0.751
28.90% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences173
matches
0"If that thing opened fully,"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount3
matches
0"Wildflowers crowded the ground in thick drifts, foxgloves beside bluebells beside pale blooms she did not know, all of them open as if they answered to another …"
1"Long white petals bent against her trainer, yet several stems lay flattened in a line leading away behind her, as if something low and careful had just slipped …"
2"Aurora’s voice came clean, cool, the one she used with drunks and liars and men who thought volume counted as power."
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount1
matches
0"she said, voice low"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences20
tagDensity0.25
leniency0.5
rawRatio0.2
effectiveRatio0.1
92.0180%