Run: 2026-03-11-01KKFFSACJSG7W01PHRTYFHADB

Run Details

Duration:
40.2s
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 oaks whispered her name. Not in the wind, because there wasn’t any. Not in the rustle of leaves, because the ancient boughs hung still as stone. The sound was in the air itself, a sibilant hiss that coiled around the syllables: *Aurora*. Then, softer, a mimicry of her friends’ voices: *Rory*. She froze, one boot hovering above a carpet of white wildflowers that should have been brown and dormant in November. The Heartstone pendant, tucked beneath her jumper, pulsed a slow, warm beat against her sternum. A warning. A welcome. It was getting harder to tell the difference. The Fae Grove materialised not from a path, but from a shift. One moment she’d been in Richmond Park, the familiar scent of damp earth and distant traffic in her nose. The next, the air thickened, tasting of honeysuckle and old copper. The standing stones—great, rough-hewn oaks older than the park itself—formed a ragged circle ahead, their bark carved with spirals that seemed to move in the corner of her eye. Inside the circle, the clearing was bathed in a soft, sourceless twilight, the wildflowers glowing a pale, impossible white. She’d come for a reason. Isolde’s message, scrawled on bar napkin and slipped under her door: *They’re weakening. Come. Midnight.* Isolde, who never used phones, who spoke in riddles that only made sense after the fact. Isolde, who said the old boundaries were fraying. Rory lowered her foot, crushing a bloom. It didn’t bruise. It simply straightened, perfect and white, as her weight left it. “Isolde?” Her voice sounded small, swallowed by the thick, sweet air. The whisper came again, from all directions. *Rory*. Not Isolde’s voice. It was her mother’s soft Welsh lilt, distorted, stretched like tape played too slow. A chill spider-walked down her spine. She pressed her palm flat against her chest, feeling the pendant’s steady thrum. It was warmer now, a distinct heat that seeped through the wool. She’d been given it in a plain envelope six months ago, no note, just the deep crimson gem on its silver chain. She’d worn it every day since, a habit born of superstition and a nagging feeling it might be important. Tonight, it felt vital. She took a step forward, into the circle of trees. The air grew heavier, pressing against her eardrums. The scent of copper intensified, undercut by something sweet and rotten, like flowers left too long in vase water. The wildflowers around her feet seemed to lean towards her, their petals rustling without a breeze. A movement, far to her left. A flicker of shadow detaching itself from the deeper gloom between two oaks. She turned her head sharply. Nothing. Just the intricate, swirling patterns on the bark. Her mind, she told herself. Playing tricks in the low light. Evan used to say she had an overactive imagination, always seeing things in the dark. The memory, unwanted and sharp, made her jaw tighten. She walked towards the centre of the grove, where the air shimmered faintly, like heat haze. This was the heart, the place where the pocket was thinnest. Isolde’s usual meeting spot. But no cloaked figure waited. Just the shimmering air and the oppressive silence, now broken by a new sound. A slow, rhythmic dripping. *Plink. Plonk. Plink.* To her right. She turned. A pool, clear and still as glass, lay at the base of the largest oak. She hadn’t seen it before. Water dripped from a high branch into its centre, each drop creating perfect, expanding rings that caught the faint light. The water was dark, almost black. As she watched, the rings didn’t fade. They multiplied, overlapping, turning the surface into a complex, shifting web of light. *Plink.* The pendant flared. A sudden, sharp spike of heat that made her gasp and clutch at it. It wasn’t just warm now; it was hot, a live coal against her skin. And it wasn’t pulsing in a rhythm anymore. It was thrumming, a rapid, frantic vibration that matched the sudden pounding of her heart. From the pool, something rose. Not a creature. A shape. A distortion in the water’s surface, as if something vast and sleek was turning just below. The black water bulged upward, forming a smooth, rounded dome that held for a breathless second, reflecting the twilight sky in a warped mirror. Then it collapsed back with a silent splash that sent no ripples to the shore. The dripping stopped. The whispering stopped. The silence that followed was a physical weight, pressing in, squeezing the air from her lungs. Rory stood rooted, her knuckles white where she gripped the pendant through her jumper. The Heartstone’s glow was visible now, a faint crimson blush leaking through the grey wool between her fingers. A branch snapped behind her. She didn’t whirl. She pivoted, slow and controlled, a habit ingrained from late-night walks home in London. Keep your centre. Don’t show fear. Nothing stood there. But the wildflowers in a patch about ten feet away were crushed, flattened in a wide, circular depression. As if something heavy had stood there. Watching. Her breath came in shallow pulls. This was wrong. Isolde’s grove was strange, but it had never felt hostile. It felt like a waiting room, a liminal space. This felt like a throat. Another sound. A dry, slithering scrape, like scales over stone. It came from the standing stones themselves. She watched, her gaze darting from one massive trunk to the next. The carved spirals on the nearest oak were moving. Slowly, ponderously, they were unwinding, the grooves in the bark deepening, twisting into new shapes. Shapes that looked horribly like grasping fingers. *They’re weakening.* Isolde hadn’t meant the boundaries of the grove. She’d meant whatever was on the other side. The Heartstone was a furnace now, its heat painful. She yanked it out from under her jumper, holding it aloft on its silver chain. The crimson gem blazed, casting long, distorted shadows that danced wildly on the tree trunks. The light didn’t push back the gloom; it seemed to thicken it, making the spaces between the trees darker, more absolute. In that deeper dark, things began to move. Not at the edge of her vision. Right in front of her. The shadows between two oaks to her left congealed, pooling like oil, rising into a tall, slender form. It had no features, just a suggestion of limbs, a too-long neck, a head that tilted with an avian curiosity. It made no sound, but the air around it vibrated with a low, subsonic hum she felt in her teeth. Then another to her right. And another behind her. They didn’t approach. They simply solidified, a silent audience of living dark. She was surrounded. The pendant in her hand was the only light, a tiny crimson star in a well of night. It pulsed in time with her panicked heartbeat, but there was a new rhythm underneath it, a deep, slow thrum that resonated with the vibrations coming from the shadow-things. A resonance. A connection. One of the forms detached itself from the tree line. It glided, its feet—if it had any—making no sound on the crushed flowers. It stopped at the edge of the pool. The dark water responded, its surface beginning to swirl, slowly at first, then with gathering speed, forming a vortex that silently drank the ambient light. The Heartstone’s chain grew taut in her hand. Not because she was pulling it. Because the pendant itself was pulling, straining towards the vortex in the pool. The crimson light flared, a beam lancing out, striking the centre of the churning water. The water turned to blood. Not metaphorically. The swirling vortex became a torrent of thick, viscous crimson, steaming faintly in the cold air. The copper smell was overwhelming, choking. From the centre of the bloody maelstrom, a shape began to rise. Not a shadow this time. A physical form. Wet, dark hair. Pale, waterlogged skin. A face she knew, eyes open and staring, filmed with a milky white. It was her own face. The thing wearing her likeness opened its mouth. No sound came out, but Rory heard it in her skull, a whisper that bypassed her ears entirely, a voice that was hers and not hers, a voice full of grave dirt and drowning water. *“You came.”* The pendant blazed white-hot. The shadow-figures surged inward. And the thing in the pool, with her face and dead eyes, smiled.
created_at"2026-03-11T22:20:26.416Z" 3/11/2026, 10:20:26 PM
model"openrouter/hunter-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency858
moderation_latency(null)
generation_time40076
tokens_prompt4560
tokens_completion2553
native_tokens_prompt4141
native_tokens_completion2202
native_tokens_completion_images(null)
native_tokens_reasoning403
native_tokens_cached4096
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-1773267626-s7kAbNdBJbUGTjj7LOqW"
upstream_id"gen-1773267626-s7kAbNdBJbUGTjj7LOqW"
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
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences2
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
89.37% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1411
totalAiIsmAdverbs3
found
0
adverb"sharply"
count1
1
adverb"slowly"
count2
highlights
0"sharply"
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)
0.78% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1411
totalAiIsms28
found
0
word"pulsed"
count2
1
word"familiar"
count1
2
word"perfect"
count2
3
word"weight"
count2
4
word"whisper"
count2
5
word"lilt"
count1
6
word"chill"
count1
7
word"down her spine"
count1
8
word"flicker"
count1
9
word"gloom"
count2
10
word"intricate"
count1
11
word"shimmered"
count1
12
word"oppressive"
count1
13
word"silence"
count2
14
word"rhythmic"
count1
15
word"complex"
count1
16
word"pounding"
count1
17
word"vibrated"
count1
18
word"resonated"
count1
19
word"resonance"
count1
20
word"churning"
count1
21
word"grave"
count1
highlights
0"pulsed"
1"familiar"
2"perfect"
3"weight"
4"whisper"
5"lilt"
6"chill"
7"down her spine"
8"flicker"
9"gloom"
10"intricate"
11"shimmered"
12"oppressive"
13"silence"
14"rhythmic"
15"complex"
16"pounding"
17"vibrated"
18"resonated"
19"resonance"
20"churning"
21"grave"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences147
matches(empty)
94.27% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences147
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)
analyzedSentences148
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans8
markdownWords15
totalWords1407
ratio0.011
matches
0"Aurora"
1"Rory"
2"They’re weakening. Come. Midnight."
3"Rory"
4"Plink. Plonk. Plink."
5"Plink."
6"They’re weakening."
7"“You came.”"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions1
matches
0"Her mind, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1401
uniqueNames10
maxNameDensity0.5
worstName"Isolde"
maxWindowNameDensity2
worstWindowName"Isolde"
discoveredNames
November1
Heartstone4
Fae1
Grove1
Richmond1
Park1
Isolde7
Welsh1
London1
Rory4
persons
0"Heartstone"
1"Isolde"
2"Rory"
places
0"November"
1"Fae"
2"Grove"
3"Richmond"
4"Park"
5"London"
globalScore1
windowScore1
96.81% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount2
matches
0"spirals that seemed to move in the corner of her eye"
1"felt like a waiting room, a liminal spa"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.711
wordCount1407
matches
0"not from a path, but from a shift"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences148
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs40
mean35.17
std25.27
cv0.719
sampleLengths
05
147
247
390
444
521
611
725
876
953
1068
1150
1210
1368
141
1554
1665
173
183
1948
205
2123
2229
2333
2460
252
2616
2760
288
2970
3021
3154
3256
3342
345
3563
365
3743
382
3921
98.10% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences147
matches
0"was bathed"
1"been given"
2"was surrounded"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount8
totalVerbs214
matches
0"was getting"
1"were fraying"
2"wasn’t pulsing"
3"was thrumming"
4"was turning"
5"were unwinding"
6"was pulling"
7"was pulling"
65.64% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount2
flaggedSentences4
totalSentences148
ratio0.027
matches
0"The standing stones—great, rough-hewn oaks older than the park itself—formed a ragged circle ahead, their bark carved with spirals that seemed to move in the corner of her eye."
1"It wasn’t just warm now; it was hot, a live coal against her skin."
2"The light didn’t push back the gloom; it seemed to thicken it, making the spaces between the trees darker, more absolute."
3"It glided, its feet—if it had any—making no sound on the crushed flowers."
99.29% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount49
adjectiveStacks0
stackExamples(empty)
adverbCount2
adverbRatio0.04081632653061224
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences148
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences148
mean9.51
std6.63
cv0.697
sampleLengths
05
18
214
316
49
520
615
72
82
98
1012
1119
1211
1329
1419
155
1613
171
1817
198
207
213
2211
2311
247
251
263
2714
286
2913
3012
3122
3219
334
3410
358
3619
3716
386
3913
405
411
428
435
446
4515
469
4716
4811
494
35.81% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.2702702702702703
totalSentences148
uniqueOpeners40
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences131
matches
0"Then, softer, a mimicry of"
1"Just the intricate, swirling patterns"
2"Just the shimmering air and"
3"Then it collapsed back with"
4"Slowly, ponderously, they were unwinding,"
5"Right in front of her."
6"Then another to her right."
ratio0.053
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences131
matches
0"She froze, one boot hovering"
1"It was getting harder to"
2"She’d come for a reason."
3"It didn’t bruise."
4"It simply straightened, perfect and"
5"Her voice sounded small, swallowed"
6"It was her mother’s soft"
7"She pressed her palm flat"
8"It was warmer now, a"
9"She’d been given it in"
10"She’d worn it every day"
11"She took a step forward,"
12"She turned her head sharply."
13"Her mind, she told herself."
14"She walked towards the centre"
15"She hadn’t seen it before."
16"They multiplied, overlapping, turning the"
17"It wasn’t just warm now;"
18"It was thrumming, a rapid,"
19"She didn’t whirl."
ratio0.275
89.77% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount97
totalSentences131
matches
0"The oaks whispered her name."
1"The sound was in the"
2"She froze, one boot hovering"
3"The Heartstone pendant, tucked beneath"
4"It was getting harder to"
5"The Fae Grove materialised not"
6"The next, the air thickened,"
7"The standing stones—great, rough-hewn oaks"
8"She’d come for a reason."
9"Isolde’s message, scrawled on bar"
10"Midnight.* Isolde, who never used"
11"Isolde, who said the old"
12"Rory lowered her foot, crushing"
13"It didn’t bruise."
14"It simply straightened, perfect and"
15"Her voice sounded small, swallowed"
16"The whisper came again, from"
17"It was her mother’s soft"
18"A chill spider-walked down her"
19"She pressed her palm flat"
ratio0.74
76.34% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences131
matches
0"As if something heavy had"
1"Because the pendant itself was"
ratio0.015
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount13
matches
0"The sound was in the air itself, a sibilant hiss that coiled around the syllables: *Aurora*."
1"She froze, one boot hovering above a carpet of white wildflowers that should have been brown and dormant in November."
2"The standing stones—great, rough-hewn oaks older than the park itself—formed a ragged circle ahead, their bark carved with spirals that seemed to move in the co…"
3"Water dripped from a high branch into its centre, each drop creating perfect, expanding rings that caught the faint light."
4"A sudden, sharp spike of heat that made her gasp and clutch at it."
5"It was thrumming, a rapid, frantic vibration that matched the sudden pounding of her heart."
6"A distortion in the water’s surface, as if something vast and sleek was turning just below."
7"The black water bulged upward, forming a smooth, rounded dome that held for a breathless second, reflecting the twilight sky in a warped mirror."
8"The silence that followed was a physical weight, pressing in, squeezing the air from her lungs."
9"The crimson gem blazed, casting long, distorted shadows that danced wildly on the tree trunks."
10"It had no features, just a suggestion of limbs, a too-long neck, a head that tilted with an avian curiosity."
11"It pulsed in time with her panicked heartbeat, but there was a new rhythm underneath it, a deep, slow thrum that resonated with the vibrations coming from the s…"
12"No sound came out, but Rory heard it in her skull, a whisper that bypassed her ears entirely, a voice that was hers and not hers, a voice full of grave dirt and…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
84.8722%