Run: 2026-03-11-01KKFE5DSKPR87K46PNBDQ69VA

Run Details

Duration:
19.9s
Cost:
$0.000000
Provider:
Stealth

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 cold seeped through Rory’s trainers long before her eyes adjusted to the gloom. Not the cold of a London night, but a deep, cellular chill that seemed to rise from the earth itself, a frost that had nothing to do with temperature and everything to do with absence. An absence of warmth, of life, of the familiar hum of the world she knew. She was standing on grass that felt more like damp moss, the kind that grows in places the sun has forgotten. Ancient oak trees, their trunks wider than a car and twisted into shapes that suggested silent, screaming faces, formed a loose perimeter. This was the place. The clearing in Richmond Park that wasn’t on any map, the one Eva had described in a frantic, half-whispered phone call a week ago. *A pocket, Rory. A fold. You have to see it.* Eva hadn’t shown. Rory had waited for three hours on the damp bench near the Petersham Gate, her phone a dead brick in her pocket. The unease that had begun as a low-grade worry curdled into something sharper when she checked the time. She’d arrived at half past ten. The bench-side clock now read twenty minutes past midnight. A jump. Not a slow creep, but a sudden lurch in the fabric of things. Now, standing in the centre of the grove under a sky choked with stars that felt too bright, too close, she felt that lurch again. The air tasted of ozone and old, wet stone. It was utterly still, no rustle of leaves, no scurry of nocturnal life. The silence was a physical weight. Her fingers found the cool silver chain at her throat, the pendant resting against her sternum. The Heartstone. It had been a parting gift, left on her doorstep with a note containing only an address—this one—and the words *He is watching.* Who? Evan? The thought was a cold spike in her gut, but it didn’t fit. Evan was a brute, not a poet of mystery. She’d taken the pendant more out of instinct than trust, its deep crimson gem warm against her skin, pulsing with a faint, inner glow that seemed to quicken now, here. A compass needle spinning, pointing not to North, but to *wrongness*. A twig snapped somewhere to her left. Rory froze, her breath catching. The sound was too loud, too sharp in the stillness, like a bone breaking. She scanned the shadows between the oaks. Nothing. Just the endless, gnarled wood. She took a step, and the moss swallowed the sound of her footfall. Another step. A low, rhythmic thump reached her ears. *Thump. Thump. Thump.* Not a heartbeat—too slow, too deliberate. It came from the earth beneath her feet, a vibration that travelled up through her bones. She knelt, pressing her palm flat to the moss. It was warm. The thumping grew stronger against her hand, a vast, subterranean pulse. “What are you?” she whispered to the silence. The silence answered with a whisper of its own. A dry, sibilant sound, like thousands of dead leaves skittering across pavement. It seemed to come from all directions at once, slithering around the trunks of the oaks. Rory snatched her hand back. The whispering stopped. The pendant against her chest flared, a brief, hot pulse of crimson light that illuminated the clearing for a split second. In that flash, she saw it. At the edge of the tree line, where the darkness should have been deepest, something stood. It was tall, impossibly so, and thin as a whip. Its shape was vaguely humanoid, but the proportions were all wrong, limbs too long, joints bending at angles that made her stomach clench. It was gone when the light faded, swallowed by the dark. Rory’s heart hammered against her ribs. A trick of the light. A shadow. A symptom of fatigue and the disorienting time slip. She forced herself to breathe. *Out, in, out.* Cool-headed. Intelligent. That was the Rory her friends relied on. The barrister’s daughter who could dismantle a flawed argument. She could dismantle this. It was just a place. It was just dark. She was just tired. But the pendant pulsed again, steady now, a warning rhythm. *Thump-thump. Thump-thump.* It synced with the vibration in the earth, and the realisation hit her with a nauseating lurch: the thumping wasn’t the ground. It was a footfall. A colossal footfall, miles away or inches below, its echo travelling through the very stone of the grove. And it was getting louder. *Thump. Thump.* Closer. She had to go. She spun, intending to retrace her steps to the gap in the standing stones she’d squeezed through, but the landscape had shifted. The oaks were arranged differently. The gap was gone, replaced by a wall of bark that seemed to breathe. A low hum started in the air, a frequency that made her teeth ache. The ground under her feet softened, becoming spongy, yielding, like walking on flesh. She stumbled, catching herself on a trunk that felt slick and cool, like wet skin. “Okay,” she breathed, the word a ragged puff in the thick air. “Okay, Rory. Think.” The pendant flared a third time, brighter, almost blinding. In its crimson glare, the grove transformed. The trees were not trees. They were pillars, and between them, stretched across the clearing like a colossal web, were threads of faint, silvery light. They pulsed with a malevolent intelligence, and at their centre, where they converged, the space was darker than dark. A hole in the world. The source of the hum, the source of the wrongness. It wasn’t a pocket between realms. It was a wound. A trap. A shape detached itself from the dark at the base of the web. It was smaller than the first thing she’d seen, moving with a skittering, spider-like gait on too many joints. It made a sound like wet stones grinding together. Rory backed away, her heel catching on a root that squirmed beneath her weight. She fell, her back hitting the ground with a jarring thud. The moss beneath her writhed. Tiny, root-like tendrils, no thicker than thread, began to creep up her jeans, seeking the gaps in her clothing. They were cold, so cold. She scrambled to her feet, kicking free, her breath coming in sharp, panicked gasps. The skittering thing was closer now, halfway across the clearing. It paused, its formless head tilting. The whispering returned, but this time it wasn’t random. It was forming words, a chorus of dry, rasping voices speaking in a language that felt familiar yet utterly alien, like a dream of speech. *She-comes. The-blood-opens. The-heart-stone-binds.* The pendant burned against her chest, its light now a frantic, strobing crimson. It wasn’t just a compass. It was a beacon. It was calling to this place, or announcing her to it. She fumbled with the clasp at her neck, her fingers numb and clumsy. The chain wouldn’t break. The silver links felt fused. The thumping footfall was deafening now, the ground shaking with each impact, sending tremors through her legs. The web of silvery light flared in response, the hole in its centre expanding, a yawning mouth of silent vacuum. The skittering creature lunged. Rory didn’t think. She moved. She dove sideways, rolling over something that felt disturbingly like a large, buried hand, and sprinted not for where the gap had been, but for the most solid-looking trunk she could see. Her plan was desperate, childish: to run, to hit the wood and keep going until she broke through to the other side, to the park, to reality. She slammed into the oak. It didn’t shatter. It didn’t even feel like wood. It felt like hitting a wall of dense, yielding flesh. The impact drove the air from her lungs. A ripple, visible in the eerie light, passed through the trunk. The bark groaned. A crack appeared, not a clean break, but a fissure that oozed a slow, black sap that smelled of iron and rot. From the fissure, something slid out. A hand. Pale, elegant, with fingers too long and tipped with nails like polished obsidian. It reached for her, not with speed, but with a dreadful, inevitable certainty. The pendant’s light was screaming now, a silent, crimson siren. The world narrowed to that pale hand, the black nails, the smell of iron, and the overwhelming, paralyzing certainty that she was not, and had never been, alone. The hand brushed her cheek. Its touch was a shock of absolute cold, a cold that burned.
created_at"2026-03-11T21:52:05.968Z" 3/11/2026, 9:52:05 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency577
moderation_latency(null)
generation_time19803
tokens_prompt4560
tokens_completion2655
native_tokens_prompt4141
native_tokens_completion2341
native_tokens_completion_images(null)
native_tokens_reasoning565
native_tokens_cached4
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
router(null)
provider_responses(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773265925-gGxe3yUn23V7Yc7WsVn9"
upstream_id"gen-1773265925-gGxe3yUn23V7Yc7WsVn9"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Stealth"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences3
tagDensity0.667
leniency1
rawRatio0
effectiveRatio0
89.49% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1427
totalAiIsmAdverbs3
found
0
adverb"utterly"
count2
1
adverb"very"
count1
highlights
0"utterly"
1"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
5.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1427
totalAiIsms27
found
0
word"gloom"
count1
1
word"chill"
count1
2
word"warmth"
count1
3
word"familiar"
count2
4
word"lurch"
count3
5
word"silence"
count3
6
word"weight"
count2
7
word"scanned"
count1
8
word"footfall"
count4
9
word"rhythmic"
count1
10
word"pulse"
count2
11
word"whisper"
count1
12
word"stomach"
count1
13
word"pulsed"
count2
14
word"echo"
count1
15
word"beacon"
count1
highlights
0"gloom"
1"chill"
2"warmth"
3"familiar"
4"lurch"
5"silence"
6"weight"
7"scanned"
8"footfall"
9"rhythmic"
10"pulse"
11"whisper"
12"stomach"
13"pulsed"
14"echo"
15"beacon"
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
emotionTells1
narrationSentences142
matches
0"was desperate"
92.56% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences142
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences143
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans8
markdownWords27
totalWords1424
ratio0.019
matches
0"A pocket, Rory. A fold. You have to see it."
1"He is watching."
2"wrongness"
3"Thump. Thump. Thump."
4"Out, in, out."
5"Thump-thump. Thump-thump."
6"Thump. Thump."
7"She-comes. The-blood-opens. The-heart-stone-binds."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions20
wordCount1417
uniqueNames11
maxNameDensity0.64
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Rory9
London1
Richmond1
Park1
Eva2
Petersham1
Gate1
Heartstone1
North1
Cool-headed1
Closer1
persons
0"Rory"
1"Eva"
places
0"London"
1"Richmond"
2"Park"
3"Petersham"
4"North"
globalScore1
windowScore1
35.06% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount4
matches
0"chill that seemed to rise from the earth itself, a frost that had nothing to do with temperature and everything to do with absence"
1"glow that seemed to quicken now, here"
2"bark that seemed to breathe"
3"felt like hitting a wall of dense, yiel"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches6
per1kWords4.213
wordCount1424
matches
0"Not the cold of a London night, but a deep, cellular chill"
1"Not a slow creep, but a sudden lurch in the fabric of things"
2"not to North, but to *wrongness*"
3"not for where the gap had been, but for the most solid-looking trunk she could see"
4"not a clean break, but a fissure"
5"not with speed, but with a dreadful, inevitable certainty"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences143
matches
0"felt that lurch"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs21
mean67.81
std39.93
cv0.589
sampleLengths
0145
1126
2106
3109
48
572
6126
764
887
915
1087
1195
1264
133
1455
1541
1664
1768
1834
1938
2017
97.85% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences142
matches
0"was gone"
1"were arranged"
2"was gone"
15.67% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs217
matches
0"was standing"
1"was getting"
2"was forming"
3"was calling"
4"was deafening"
5"was screaming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences2
totalSentences143
ratio0.014
matches
0"It had been a parting gift, left on her doorstep with a note containing only an address—this one—and the words *He is watching.* Who?"
1"Thump.* Not a heartbeat—too slow, too deliberate."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1431
adjectiveStacks2
stackExamples
0"frantic, half-whispered phone"
1"becoming spongy, yielding, like"
adverbCount39
adverbRatio0.027253668763102725
lyAdverbCount7
lyAdverbRatio0.004891684136967156
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences143
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences143
mean9.96
std7.45
cv0.748
sampleLengths
014
135
215
321
422
54
624
73
82
95
103
1122
1218
136
149
152
1613
1725
189
1913
206
2116
222
2324
241
2513
269
2730
2811
297
305
3114
327
331
345
3513
362
377
381
391
407
4116
429
433
4411
458
469
4712
4816
495
29.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats30
diversityRatio0.22377622377622378
totalSentences143
uniqueOpeners32
54.20% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences123
matches
0"Just the endless, gnarled wood."
1"Pale, elegant, with fingers too"
ratio0.016
57.40% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences123
matches
0"She was standing on grass"
1"You have to see it.*"
2"She’d arrived at half past"
3"It was utterly still, no"
4"Her fingers found the cool"
5"It had been a parting"
6"She’d taken the pendant more"
7"She scanned the shadows between"
8"She took a step, and"
9"It came from the earth"
10"She knelt, pressing her palm"
11"It was warm."
12"she whispered to the silence"
13"It seemed to come from"
14"It was tall, impossibly so,"
15"Its shape was vaguely humanoid,"
16"It was gone when the"
17"She forced herself to breathe."
18"She could dismantle this."
19"It was just a place."
ratio0.407
16.91% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences123
matches
0"The cold seeped through Rory’s"
1"An absence of warmth, of"
2"She was standing on grass"
3"This was the place."
4"The clearing in Richmond Park"
5"*A pocket, Rory."
6"You have to see it.*"
7"Eva hadn’t shown."
8"Rory had waited for three"
9"The unease that had begun"
10"She’d arrived at half past"
11"The bench-side clock now read"
12"The air tasted of ozone"
13"It was utterly still, no"
14"The silence was a physical"
15"Her fingers found the cool"
16"It had been a parting"
17"The thought was a cold"
18"Evan was a brute, not"
19"She’d taken the pendant more"
ratio0.886
40.65% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences123
matches
0"Now, standing in the centre"
ratio0.008
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount13
matches
0"Not the cold of a London night, but a deep, cellular chill that seemed to rise from the earth itself, a frost that had nothing to do with temperature and everyt…"
1"The clearing in Richmond Park that wasn’t on any map, the one Eva had described in a frantic, half-whispered phone call a week ago."
2"The unease that had begun as a low-grade worry curdled into something sharper when she checked the time."
3"Now, standing in the centre of the grove under a sky choked with stars that felt too bright, too close, she felt that lurch again."
4"She’d taken the pendant more out of instinct than trust, its deep crimson gem warm against her skin, pulsing with a faint, inner glow that seemed to quicken now…"
5"It came from the earth beneath her feet, a vibration that travelled up through her bones."
6"The pendant against her chest flared, a brief, hot pulse of crimson light that illuminated the clearing for a split second."
7"Its shape was vaguely humanoid, but the proportions were all wrong, limbs too long, joints bending at angles that made her stomach clench."
8"She stumbled, catching herself on a trunk that felt slick and cool, like wet skin."
9"Rory backed away, her heel catching on a root that squirmed beneath her weight."
10"She scrambled to her feet, kicking free, her breath coming in sharp, panicked gasps."
11"It was forming words, a chorus of dry, rasping voices speaking in a language that felt familiar yet utterly alien, like a dream of speech."
12"She dove sideways, rolling over something that felt disturbingly like a large, buried hand, and sprinted not for where the gap had been, but for the most solid-…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"she whispered (whisper)"
1"she breathed (breathe)"
dialogueSentences3
tagDensity0.667
leniency1
rawRatio1
effectiveRatio1
70.7399%