Run: 2026-03-09-01KKACAY8NXQZWE48MZP53HCZ5

Run Details

Duration:
1m 2s
Cost:
$0.039065
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 burned through her shirt as Aurora slipped between the standing stones. She caught it in her fist at once, hissing through her teeth, and glanced back over her shoulder. The path she had followed through Richmond Park had already thinned into a dark seam between yew and bracken. One step back ought to have shown her the iron gate, the trampled track, the city’s faint red smear beyond the trees. Instead she saw only trunks packed too close together, bark silvering as if frost had licked them. Her pulse gave a hard kick. The Heartstone answered with a faint throb against her palm, warm as blood. “Brilliant,” she murmured. “That’s not ominous at all.” She let the pendant fall. The crimson stone swung once on its silver chain, then settled against her sternum, its inner glow low and steady. Not near a Hel portal, then. Or not only that. The distinction did not comfort her. Aurora moved deeper into the grove with careful, quiet steps. The grass underfoot felt wrong. It bent but did not rustle. Wildflowers pushed up in pale clusters around the roots of the oaks, foxgloves and star-shaped white blooms and little blue bells that should not all have flowered together. Their scent hung thick in the air, sweet enough to turn cloying. Bees should have worried them. Moths. Midges. Anything. She heard none. That silence had teeth. She had come because Yu-Fei’s nephew swore he had seen a woman walk into the trees near dusk and never walk out, and because the boy had gone grey in the face when he described the “old stones with the holes in the middle”, and because Rory had learned to trust people when they spoke around a fear too large to name. She had come because odd things in London had started to lean towards her of late, as if some hidden current had marked her and altered course. She had come because the pendant had gone warm the moment she reached the park, and because every sensible decision in her life lately seemed to begin with the words don’t be stupid, Rory. She stopped beside a fallen oak, laid a hand on its trunk, and listened. A trickle of water somewhere ahead. Leaves shifting. A small knock, knock, knock from deeper in the clearing, too deliberate for a branch in the breeze. She turned towards it. The grove opened without warning. One moment she threaded between close trunks, the next she stood at the edge of a broad clearing ringed with ancient oaks so large their roots rose from the earth like coiled backs. The standing stones marked no proper circle. They leaned at odd angles, half swallowed by moss, each one carved with weathered grooves that looked almost like writing if she refused to blink. In the centre sat a pool no wider than a lorry tyre, black and still. A ribbon hung from one of the nearer stones. Aurora crouched beside it. Not ribbon. A scarf, silk once, now torn, the pattern faded but still visible beneath the dirt, little yellow cranes on a field of green. She knew that print. Golden Empress had sold a batch of them by the till last winter during a brief, disastrous attempt at branded merchandise. One had gone missing after Yu-Fei’s nephew’s auntie bought it for his cousin. “Right,” Rory said softly. “You were here.” She did not touch the scarf. Instead she scanned the mud around the stone. Prints showed in broken shapes, heel marks softened at the edges, then lost altogether in the grass. The ground looked disturbed in a broad arc, as though someone had walked in circles, searching for a way out. The knock came again. This time it sounded closer, just beyond the far side of the clearing. Aurora straightened and kept her breathing even. “Hello?” No answer. Her own voice seemed to soak into the place rather than carry. London had taught her the comfort of background noise, tyres hissing on wet roads, distant sirens, some bloke arguing with a bus stop. Here, every sound felt trapped. Her swallow sounded loud. She circled the pool, eyes on the tree line. Halfway round, the surface of the water dimpled. She froze. Another dimple. Then another, neat and round, as if raindrops struck it one by one. The air on her face stayed still. The branches overhead did not stir. Yet the black water puckered and smoothed, puckered and smoothed. Plink. Plink. Plink. The sound reached her a beat late. Aurora took one step back. The pendant warmed again. She gripped it through her shirt and watched the pool. Something pale passed under the surface. Long. Slow. Not fish. Too straight. It moved beneath the water without a ripple, then vanished into the dark centre. “Nope,” she whispered. The wrongness she had felt at the stones now sharpened into shape. Not fear exactly, not yet. Recognition. The small hard instinct that had got her out of bad rooms and worse hands, the one that had learned the shift in air before a slam, before a voice dropped flat, before danger decided it had permission. She backed away from the pool and turned towards the scarfed stone, fixing on a practical thing to do. Take the scarf. Mark the place. Leave. Return with someone less mortal, less alone, less likely to become a cautionary tale told over noodles in a restaurant kitchen. Something moved between two oaks. Aurora looked up at once. Nothing. Only a gap in the trunks, darkness layered behind darkness. She crossed to the stone anyway. The scarf stirred before she reached it. Not falling. Not slipping loose. It tightened. The silk drew taut as if an invisible hand on the far side of the stone had taken hold and pulled. Aurora stopped dead. The torn end lifted, hovered, and then wrapped itself once around the mossy edge with a slow, deliberate curl. Her scalp prickled. “Hello?” she said again, sharper now. “If you need help, say so.” The clearing answered with a child’s laugh. It came from behind her left shoulder, bright and brief, almost playful. Aurora spun. Empty grass. Flowers nodding on thin stems. The standing stones stood where they had stood. Her throat dried at once. The laugh had not sounded human. Too clear. Too clean. Like glass tapped with a fingernail. She forced herself to move, not run. Running blind in a place where time bent and paths shifted sounded like an excellent way to disappear for a century. She slid her phone from her pocket and thumbed the torch on. The beam came out weak and yellow. Her battery had been at sixty-two per cent ten minutes ago. It now showed fourteen. “Of course.” No signal. Not even the false comfort of a single bar. She shoved the phone back into her pocket, keeping the torch on, and turned slowly. Shapes changed at the edge of the light. A low stump became a crouched figure, then wood again. A bank of foxgloves leaned together like women whispering behind gloves. The nearest oak wore a split in its bark that looked too much like a grin. Another laugh, farther away. Then the knock, knock, knock, fast now, circling the clearing. Aurora tracked it from tree to tree. “You’re doing a cracking job of the haunted forest routine.” A dry leaf skated over the grass and stopped against her boot. She frowned. No wind. Yet another leaf followed. Then another. They gathered around her feet in a rough ring, their brown surfaces trembling though the grass beneath them stayed still. From beyond the oaks came a voice. “Rory.” Everything in her went rigid. It was Eva’s voice. Soft South London vowels, warm and amused, the voice that had talked her onto a train to London and refused to let her crawl back to Cardiff and apologise to a man who did not deserve apology. “Rory, over here.” Aurora did not answer. She stared into the trees ahead, torch beam shaking only a little. The voice came again, closer this time, from her right. “Don’t be a cow, I know you can hear me.” Eva would never say it like that. Not with that flatness on the end, not with the words dropped in the wrong place, as if whoever wore her voice had learned it by pressing an ear to a wall. Aurora drew a slow breath through her nose. Sweet flowers. Wet earth. And under it now, a faint smell like apples left too long in a cupboard, fruit going soft from the inside. “No,” she said. A pause. Then, from behind the pool, Eva’s voice laughed. “Good girl.” The pendant flared hot enough to make her gasp. Crimson light leaked through the fabric of her shirt in a thin pulse. Across the clearing, carvings on the standing stones answered with a low silver sheen. The marks had not been weathering after all. They were lines, tight spirals and hooked symbols, cut deep and hidden until the Heartstone woke them. The black pool shivered. Its surface bulged upward, not much, only the curve of a breath held under skin. Aurora stepped back. The ring of leaves around her boots began to spin. Slow at first, a little rustling circle, then faster, dry edges whisking over the grass with a papery hiss. A breeze rose inside that ring alone. It caught the ends of her hair and the hem of her coat while the foxgloves beyond it stood still as painted things. The child’s laugh came from everywhere now. High. Delighted. The voice changed again. “Brendan.” Her father’s voice. Precise, clipped, threaded with old courtroom steel. It rolled from the trees on her left. “Aurora, stand where you are.” She shut her eyes for one beat, opened them, and bared her teeth at the dark. “Get stuffed.” The laugh broke into many laughs, overlapping, some childish, some old, some thin as flutes. Shadows slid between the oaks. Not crossing the open ground. Watching from the bark. Heads too high, limbs too long, antler-thin fingers folded around the trunks. Aurora took another step back and hit stone. Cold flooded through her coat. She had not come near any stone. She had been in the middle of the clearing. She twisted round. One of the standing stones loomed an inch from her shoulder, its central hole at eye level. Through that circular gap she could see not the opposite side of the grove, but a corridor of dark roots descending into red light. Something moved there, climbing. The pendant seared her skin. The black pool in the centre rose in a silent column. It stood taller and taller, shaped itself by degrees, water becoming the outline of a woman with loose hair and a bent neck, with hands that hung too long at the ends of narrow arms. No face. Only the suggestion of one, smooth and blank, until two deep crimson sparks opened where eyes should have been. The silk scarf snapped free from the stone and whipped across the clearing towards it. Aurora shoved away from the monolith, reaching for the knife in her boot just as every shadow at the tree line leaned forward and the thing in the pool took its first step onto the grass.
created_at"2026-03-09T22:43:57.35Z" 3/9/2026, 10:43:57 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6163
moderation_latency(null)
generation_time62211
tokens_prompt4560
tokens_completion2994
native_tokens_prompt4064
native_tokens_completion2503
native_tokens_completion_images0
native_tokens_reasoning137
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"
usage0.039065
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_006e09c38243ccc80169af4d2d6df88196a387b4c8c06dec4f"
is_byokfalse
latency276
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-1773096237-xAuMoObxfWVJFGTnTj69"
upstream_id"resp_006e09c38243ccc80169af4d2d6df88196a387b4c8c06dec4f"
total_cost0.039065
cache_discount0.00864
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount2
adverbTags
0"Rory said softly [softly]"
1"she said again [again]"
dialogueSentences19
tagDensity0.316
leniency0.632
rawRatio0.333
effectiveRatio0.211
94.71% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1890
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"slowly"
count1
highlights
0"softly"
1"slowly"
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)
76.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1890
totalAiIsms9
found
0
word"pulse"
count2
1
word"throb"
count1
2
word"silence"
count1
3
word"silk"
count3
4
word"scanned"
count1
5
word"loomed"
count1
highlights
0"pulse"
1"throb"
2"silence"
3"silk"
4"scanned"
5"loomed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung thick in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences191
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences191
filterMatches(empty)
hedgeMatches
0"started to"
1"seemed to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences204
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen63
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1890
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1826
uniqueNames14
maxNameDensity0.77
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Aurora14
Richmond1
Park1
Heartstone2
Hel1
Yu-Fei2
Rory3
London4
Empress1
Eva3
South1
Cardiff1
One4
Plink3
persons
0"Aurora"
1"Heartstone"
2"Yu-Fei"
3"Rory"
4"Empress"
5"Eva"
6"One"
places
0"Richmond"
1"Park"
2"Hel"
3"London"
4"South"
5"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount1
matches
0"sounded like an excellent way to disappear"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.529
wordCount1890
matches
0"not the opposite side of the grove, but a corridor of dark roots descending into red light"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences204
matches
0"knew that print"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs86
mean21.98
std23.28
cv1.059
sampleLengths
013
195
28
341
472
54
6123
714
826
94
1085
119
1267
137
1451
154
1613
178
182
1944
2017
212
2238
233
247
2519
2626
273
2856
2947
305
3116
3213
335
342
3543
363
3712
387
3912
4017
4121
4240
4322
442
4526
4645
474
4810
4917
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences191
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs290
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences204
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1831
adjectiveStacks1
stackExamples
0"long, antler-thin fingers"
adverbCount73
adverbRatio0.03986892408519935
lyAdverbCount11
lyAdverbRatio0.006007646095030038
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences204
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences204
mean9.26
std8.76
cv0.945
sampleLengths
013
118
219
322
417
56
613
73
85
95
1020
116
124
136
1410
155
166
1728
1812
195
201
211
221
233
244
2562
2627
2734
2814
296
302
3118
324
335
3433
357
3625
3715
389
394
402
4123
424
4321
4413
454
463
476
488
4917
56.54% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.37745098039215685
totalSentences204
uniqueOpeners77
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences154
matches
0"Instead she saw only trunks"
1"Instead she scanned the mud"
2"Then another, neat and round,"
3"Only a gap in the"
4"Then the knock, knock, knock,"
5"Then, from behind the pool,"
6"Only the suggestion of one,"
ratio0.045
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences154
matches
0"She caught it in her"
1"Her pulse gave a hard"
2"She let the pendant fall."
3"It bent but did not"
4"Their scent hung thick in"
5"She heard none."
6"She had come because Yu-Fei’s"
7"She had come because odd"
8"She had come because the"
9"She stopped beside a fallen"
10"She turned towards it."
11"They leaned at odd angles,"
12"She knew that print."
13"She did not touch the"
14"Her own voice seemed to"
15"Her swallow sounded loud."
16"She circled the pool, eyes"
17"She gripped it through her"
18"It moved beneath the water"
19"She backed away from the"
ratio0.279
76.88% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount118
totalSentences154
matches
0"The pendant burned through her"
1"She caught it in her"
2"The path she had followed"
3"Her pulse gave a hard"
4"The Heartstone answered with a"
5"She let the pendant fall."
6"The crimson stone swung once"
7"The distinction did not comfort"
8"Aurora moved deeper into the"
9"The grass underfoot felt wrong."
10"It bent but did not"
11"Wildflowers pushed up in pale"
12"Their scent hung thick in"
13"Bees should have worried them."
14"She heard none."
15"That silence had teeth."
16"She had come because Yu-Fei’s"
17"She had come because odd"
18"She had come because the"
19"She stopped beside a fallen"
ratio0.766
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences154
matches(empty)
ratio0
70.39% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount7
matches
0"Instead she saw only trunks packed too close together, bark silvering as if frost had licked them."
1"Wildflowers pushed up in pale clusters around the roots of the oaks, foxgloves and star-shaped white blooms and little blue bells that should not all have flowe…"
2"She had come because odd things in London had started to lean towards her of late, as if some hidden current had marked her and altered course."
3"They leaned at odd angles, half swallowed by moss, each one carved with weathered grooves that looked almost like writing if she refused to blink."
4"The ground looked disturbed in a broad arc, as though someone had walked in circles, searching for a way out."
5"The small hard instinct that had got her out of bad rooms and worse hands, the one that had learned the shift in air before a slam, before a voice dropped flat,…"
6"It stood taller and taller, shaped itself by degrees, water becoming the outline of a woman with loose hair and a bent neck, with hands that hung too long at th…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount3
fancyTags
0"she murmured (murmur)"
1"She had (have)"
2"she whispered (whisper)"
dialogueSentences19
tagDensity0.316
leniency0.632
rawRatio0.5
effectiveRatio0.316
85.6237%