Run: 2026-03-11-01KKFC5KGZ9NQV3QTE8BK69614

Run Details

Duration:
2m 17s
Cost:
$0.012924
Provider:
Seed

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
My palm slipped on moss slick enough for ice. I’d scrambled over the first gnarled oak standing stone three breaths prior, left my scuffed running trainers caked in the same muck that glistened on the ancient trunks, thought I’d heard a taxi horn from the main Richmond Park road behind me. Now that sound was gone. All the park’s usual night noises — the hoot of a tawny owl, the rustle of foxes in bramble, the distant rumble of a plane heading for Heathrow — had vanished. The only sound was the crunch of my boots on wildflower stems that shouldn’t have been blooming in mid-November. Bluebells, primroses, clover that smelled not of grass and rain, but of overripe fruit left to rot in a bin. I pulled the Heartstone from under my work jumper, the thin silver chain warm against my throat. The crimson gem, no bigger than my thumbnail, pulsed under my thumb, faster than it had ever beaten on any of the test walks I’d taken around London’s tube stations, the places the scrap of paper had warned held weak spots between worlds. I’d found the pendant tucked into my delivery bag a week prior, left on the back seat of my moped after I dropped an order of chow mein to a flat in Camden. Tucked next to it was that scrap of brown paper, scrawled in ink that smudged when I touched it: Evan is not a man. He feeds on the gaps between worlds. The Grove is the only place you can trap him. Bring iron nails, three, forged before 1950. Don’t look at the faces. Don’t step off the clearing’s central path. I’d laughed at the time. Laughed at the idea that my ex, the bricklayer from Cardiff who’d smashed my laptop and chased me through the city streets, was anything more than a sad, violent man. I’d stopped laughing three nights prior, when I came home to my flat above Silas’ bar to find my front door jemmied open, and on my kitchen table, a photo of me outside Golden Empress, taken that morning. No note, no fingerprint, just the photo. And a single black crow feather, the same kind I’d seen tucked into Evan’s work boot the day I left him. So I’d driven to Richmond, hiked three miles off the marked paths, found the three oak stones the note had described, and crossed over. My phone had read 11:02 PM when I stepped over the first stone’s root. Now it was a dead black slab, no signal, no battery, nothing. I tapped the face of my beat-up Fitbit, the only other piece of tech I carried, and its screen flared to life. The date stared back at me: November 17. I’d crossed into the Grove on November 15. Two days lost, in the span of ten minutes. The grove’s twisted time. I’d skimmed that line in the note, the throwaway warning that hours inside could be days outside, or days inside mere minutes out. I rubbed the crescent scar on my left wrist, the old childhood habit that kicked in every time my chest tightened with fear, the scar I’d got when I fell off my bike at seven, splitting my wrist open on a rusted drain cover. “Rory.” The voice drifted from the treeline ten paces to my left. It was my mother’s. Soft, Welsh lilt rolling over the name, the same tone she’d used to call me in for dinner when I was a kid, hiding in the woods behind our Cardiff house. Jennifer Carter had died three years prior, crashed her car into a lorry on the M4, her body identified by her dental records. There was no way she could be standing in a fae grove in London. “Who’s there?” My voice carried, but it didn’t fade. It bounced off the oak trunks, warped, stretched thin, until it came back to me, higher, childlike, mocking. I stepped back, my boots scuffing the packed earth of the central path, and squinted into the shadow under the trees. A figure stepped out from behind an oak, wrapped in the blue wool coat my mum had been buried in, the coat I’d picked out from her wardrobe, the one with the coffee stain on the cuff she’d never managed to wash out. Her face was hidden in mist, but I could see her hand lift, the same chipped mint-green nail polish she’d worn for as long as I could remember glinting in the faint silver light that hung over the clearing. “Come home, love. I missed you.” The note’s warning screamed in my head: The grove feeds on what you grieve. It will wear the faces of the ones you left, the ones you lost, to lure you off the path. If you step off, it will keep you. Forever. I squeezed the Heartstone so hard my nail dug into my palm, the gem growing hotter, searing a little into my skin. It pulsed faster, matching the beat of my own heart. “Rory.” That voice was Eva’s. My childhood friend, the one who’d paid my deposit on the London flat, who’d driven me out of Cardiff in the middle of the night with nothing but a bin bag of my clothes, who was supposed to be in Edinburgh starting a masters that week. She called from the other side of the clearing, her voice cracking, raw with fear. “Evan found me. He hurt me, Rory. Please, come get me.” I shifted my weight, fumbling in my jacket pocket for the pepper spray I carried, the small canister I’d bought after Evan first started harassing me. My fingers closed around it, but I didn’t move. I knew Eva was safe. I’d facetimed her that morning, she’d been in her Edinburgh flat, surrounded by unpacked boxes, the Scottish rain lashing at her window behind her. This was a trick. A lie. The standing stones behind me creaked. I spun, my heart slamming into my ribs, and saw the three oak stones shifting, their roots dragging across the earth, closing the gap I’d climbed through ten minutes prior. The only way out was sealed. The light over the clearing dimmed, the silver glow turning to a murky red, matching the pulse of the Heartstone in my hand. I remembered the gem’s purpose, the line in the note I’d skimmed past: it glows hot when a Hel portal opens. Evan was here. “You always were a clever little thing, weren’t you?” That voice was his. Low, rough, the Cardiff lilt thicker than I remembered, the same tone he’d used the night he smashed my laptop, screaming that I couldn’t leave him, that I belonged to him. I spun back to the far end of the clearing, my pepper spray raised, and saw the rift opening in the air, a black tear that oozed thick, cold smoke that smelled of copper and burnt hair. Evan stepped through, his work boots caked in the same moss that covered the stones, his leather jacket zipped to his throat. His face was half shadow, I couldn’t make out his features, but I saw his smile, the gap between his front teeth that I’d once thought was cute, that I now flinched from. “You thought you could hide from me in a patch of fairy woods?” He stepped forward, and the two figures that had worn my mother’s and Eva’s faces stepped out from the treeline to flank him. Their faces cleared now, their eyes empty black pits, their mouths stretched too wide, grinning. “You thought a lump of rock and a handful of iron nails could stop me?” I fumbled in my other pocket, the one I’d stowed the three iron nails in, the ones I’d bought from an antique shop in Portobello Road that morning. My hand came up empty. I’d dropped them when I slipped on the moss, ten minutes, two days, however long ago, when I first crossed the stones. I looked back up at Evan, ten paces away, the rift behind him growing wider, the Heartstone in my hand burning so hot it felt like it was melting into my skin, and I realized I’d walked straight into the trap he’d laid for me. The note hadn’t been a warning. It had been an invitation.
created_at"2026-03-11T21:17:14.738Z" 3/11/2026, 9:17:14 PM
model"bytedance-seed/seed-2.0-lite-20260309"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1269
moderation_latency(null)
generation_time137005
tokens_prompt4560
tokens_completion6318
native_tokens_prompt4449
native_tokens_completion5906
native_tokens_completion_images(null)
native_tokens_reasoning4121
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"stop"
usage0.01292425
router(null)
provider_responses
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endpoint_id"bf1a3473-7a0a-46d3-aaa5-adb8f876a697"
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is_byokfalse
latency1269
model_permaslug"bytedance-seed/seed-2.0-lite-20260309"
provider_name"Seed"
status200
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.375
leniency0.75
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1390
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)
71.22% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1390
totalAiIsms8
found
0
word"pulsed"
count2
1
word"lilt"
count2
2
word"glinting"
count1
3
word"searing"
count1
4
word"weight"
count1
5
word"pulse"
count1
highlights
0"pulsed"
1"lilt"
2"glinting"
3"searing"
4"weight"
5"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
emotionTells2
narrationSentences74
matches
0"d with fear"
1"w with fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences74
filterMatches(empty)
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences80
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1392
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1310
uniqueNames19
maxNameDensity0.46
worstName"Evan"
maxWindowNameDensity1
worstWindowName"Evan"
discoveredNames
Richmond2
Park1
Heathrow1
Heartstone4
London3
Camden1
Evan6
Grove2
Cardiff4
Fitbit1
November3
Welsh1
Carter1
Eva3
Edinburgh2
Scottish1
Hel1
Portobello1
Road1
persons
0"Heathrow"
1"Evan"
2"Grove"
3"Carter"
4"Eva"
places
0"Richmond"
1"Park"
2"London"
3"Camden"
4"Cardiff"
5"Edinburgh"
6"Portobello"
7"Road"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences60
glossingSentenceCount1
matches
0"felt like it was melting into my skin,"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.718
wordCount1392
matches
0"not of grass and rain, but of overripe fruit left to rot in a bin"
0.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences80
matches
0"was that scrap"
1"skimmed that line warning that hours"
2"screaming that I"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs20
mean69.6
std45.28
cv0.651
sampleLengths
0126
1153
2101
397
471
51
683
727
8103
96
1075
111
1265
1311
1470
1589
169
17127
1866
19111
86.30% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences74
matches
0"was gone"
1"been buried"
2"was hidden"
3"was supposed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs212
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences1
totalSentences80
ratio0.013
matches
0"All the park’s usual night noises — the hoot of a tawny owl, the rustle of foxes in bramble, the distant rumble of a plane heading for Heathrow — had vanished."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount371
adjectiveStacks0
stackExamples(empty)
adverbCount8
adverbRatio0.0215633423180593
lyAdverbCount2
lyAdverbRatio0.005390835579514825
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences80
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences80
mean17.4
std12.57
cv0.723
sampleLengths
09
142
25
331
419
520
617
743
833
924
107
1110
127
135
147
155
1630
1738
187
1921
2024
2114
2212
2322
248
258
269
274
2823
2944
301
3111
324
3331
3423
3514
369
3718
3821
3943
4039
416
4214
4320
448
451
4622
4710
481
494
64.58% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.425
totalSentences80
uniqueOpeners34
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences72
matches(empty)
ratio0
14.44% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences72
matches
0"My palm slipped on moss"
1"I’d scrambled over the first"
2"I pulled the Heartstone from"
3"I’d found the pendant tucked"
4"He feeds on the gaps"
5"I’d laughed at the time."
6"I’d stopped laughing three nights"
7"My phone had read 11:02"
8"I tapped the face of"
9"I’d crossed into the Grove"
10"I’d skimmed that line in"
11"I rubbed the crescent scar"
12"It was my mother’s."
13"My voice carried, but it"
14"It bounced off the oak"
15"I stepped back, my boots"
16"Her face was hidden in"
17"It will wear the faces"
18"I squeezed the Heartstone so"
19"It pulsed faster, matching the"
ratio0.514
64.17% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount57
totalSentences72
matches
0"My palm slipped on moss"
1"I’d scrambled over the first"
2"All the park’s usual night"
3"The only sound was the"
4"Bluebells, primroses, clover that smelled"
5"I pulled the Heartstone from"
6"The crimson gem, no bigger"
7"I’d found the pendant tucked"
8"He feeds on the gaps"
9"The Grove is the only"
10"I’d laughed at the time."
11"I’d stopped laughing three nights"
12"My phone had read 11:02"
13"I tapped the face of"
14"The date stared back at"
15"I’d crossed into the Grove"
16"The grove’s twisted time."
17"I’d skimmed that line in"
18"I rubbed the crescent scar"
19"The voice drifted from the"
ratio0.792
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences72
matches
0"Now that sound was gone."
1"Now it was a dead"
2"If you step off, it"
ratio0.042
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount9
matches
0"I’d scrambled over the first gnarled oak standing stone three breaths prior, left my scuffed running trainers caked in the same muck that glistened on the ancie…"
1"I rubbed the crescent scar on my left wrist, the old childhood habit that kicked in every time my chest tightened with fear, the scar I’d got when I fell off my…"
2"Her face was hidden in mist, but I could see her hand lift, the same chipped mint-green nail polish she’d worn for as long as I could remember glinting in the f…"
3"My childhood friend, the one who’d paid my deposit on the London flat, who’d driven me out of Cardiff in the middle of the night with nothing but a bin bag of m…"
4"I shifted my weight, fumbling in my jacket pocket for the pepper spray I carried, the small canister I’d bought after Evan first started harassing me."
5"I spun, my heart slamming into my ribs, and saw the three oak stones shifting, their roots dragging across the earth, closing the gap I’d climbed through ten mi…"
6"I spun back to the far end of the clearing, my pepper spray raised, and saw the rift opening in the air, a black tear that oozed thick, cold smoke that smelled …"
7"Evan stepped through, his work boots caked in the same moss that covered the stones, his leather jacket zipped to his throat."
8"I looked back up at Evan, ten paces away, the rift behind him growing wider, the Heartstone in my hand burning so hot it felt like it was melting into my skin, …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"I’d (would)"
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio1
effectiveRatio0.25
80.8571%