Run: 2026-03-11-01KKFFZ8SS9S8ZCAFF3EGVEH85

Run Details

Duration:
20.4s
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 pendant’s chain was cold against her throat. Not the usual chill of silver, but a deep, marrow-level cold that seeped through her skin and settled in her sternum. Rory’s fingers closed around the deep crimson gemstone, its faint inner glow dimmed by the press of her thumb. It pulsed, once, a sluggish, feverish throb. Here. It had to be here. The grove was nothing like the manicured expanses of Richmond Park just beyond the ring of ancient oaks. Here, the grass was longer, wildflowers bloomed in garish clots of colour no October sun should nurture, and the air tasted of ozone and damp earth. The standing stones, rough-hewn and grey with age, formed a perfect circle, their tops worn smooth by centuries of wind that didn’t touch the world outside this pocket. The silence between them wasn’t empty. It was thick, watchful. She stepped over a gnarled root that snaked across the earth like a petrified tendon. The pendant warmed against her collarbone, a living thing. It was leading her, or perhaps it was responding to something already here. She wasn’t sure which felt worse. A sound. A soft, wet, dragging noise, like a cloth pulled across a floor. It came from her left, from behind the broadest stone, the one carved with a spiral that seemed to shift if you stared too long. Rory stopped, her breath held tight in her chest. The noise stopped the instant she did. She was left with only the frantic thud of her own heart and the distant, ever-present hum of London’s sprawl, a muted reminder of a world that made sense. She exhaled, slow and controlled. The pendant pulsed again. Warmth. *Forward.* Moving towards the stone felt like wading through something viscous. Her boots, chosen for city pavements, made no sound on the soft, mossy ground. The silence pressed in. As she rounded the great standing stone, she saw nothing but more wildflowers and the opposite side of the grove. The dragging sound did not resume. But a new one began. A faint, high-pitched giggle. It was distant, but clear, echoing in the unnatural stillness. A child’s laugh. It came from everywhere and nowhere at once, seeming to bounce off the stones and the ancient oaks that formed the boundary. The laughter faded, leaving behind a sour taste in the back of her throat. The wrongness was no longer a feeling. It was a fact. The wrongness was in the vibrant colours of the flowers, too bright, too solid. It was in the way the pendant’s warmth now felt less like guidance and more like a lure. It was in the giggling that had no source. She scanned the grove, her gaze sweeping over the leaning stones and the riot of flora. Nothing moved. But at the very edge of her vision, where the long grass met the shadows beneath the oaks, something shifted. A shape. Dark, low to the ground. It slipped behind a trunk so fast she couldn’t have described it, a suggestion of movement that left her eyes aching. *Trick of the light. Refracted through the boundary. It’s playing with you.* The thought was her own, but it felt cold, detached, as if someone else had placed it in her mind. She shook her head, a sharp, dismissive motion, and focused on the pendant. Its glow was steadier now, a faint crimson beacon pointing towards the centre of the clearing, where the flowers grew in a perfect, unnatural circle. In the very heart of that circle, the grass was pressed flat, as if something had lain there. Recently. The dragging sound returned. Closer this time. It was coming from behind her now, from the grove’s entrance, the way she’d come in. It was the sound of something heavy and wet being pulled across the turf. She didn’t turn. Turning felt like a mistake. It felt like an invitation. “You don’t have to do that,” she said, her voice flat in the still air. The words felt absurd the moment they left her mouth. What was she talking to? The silence offered no reply, but the dragging stopped. The giggling came again, this time from directly above her. She flinched, her gaze snapping upwards. The canopy of leaves overhead was a dense, dark web against the bruised purple of the sky. Nothing looked down at her. Nothing should be able to stand on those branches. The pendant flared with sudden, intense heat. Rory gasped and pressed her hand to it. The warmth was searing, urgent. *Here. Now.* She looked down. In the centre of the pressed grass, something glinted. Not metal. Something pale, creamy-white, catching the faint moonlight that filtered through the leaves. A bone? A fragment of porcelain? She took a step towards it. Then another. The ground felt firmer beneath her boots as she entered the circle. The air changed. It grew thicker, charged, like the moment before a lightning strike. The hum of London vanished completely, smothered. A whisper slithered through the air, sibilant and dry, like dead leaves skittering across pavement. It formed no words she could recognise, but the tone was unmistakable. Mocking. Hungry. She was five feet from the object when the first clear voice spoke. “Rory.” It was a man’s voice. Evan’s voice. She froze, every muscle in her body locking rigid. The temperature plummeted. Her breath plumed in front of her. She knew, with a certainty that bypassed logic and settled like ice in her gut, that she was completely and utterly alone in the grove. And she was not. The voice had come from behind the central standing stone, the one with the shifting spiral. It came from the same place the dragging sound had started. “Leave me alone,” she said, the words barely a whisper. The laughter returned, a chorus this time, high and thin and coming from every direction at once. The flowers in the circle seemed to pulse, their colours deepening, bleeding into one another. The pendant against her skin was now a brand, a point of agonising heat. She took another step. The pale object was close now. She could see it clearly. It was a smooth, white stone, shaped like a perfect, delicate human ear. A dry, cracking sound came from behind the spiral stone, like twigs breaking under a heavy foot. Then, a shadow spilled around its edge. It was long and misshapen, stretching impossibly across the grass towards her boots. It didn’t move like a shadow cast by something solid. It moved like a stain spreading, dark and fluid. Rory didn’t wait to see what cast it. She spun on her heel and ran, not for the entrance of the grove, but for the gap between two of the eastern stones. Her hand was clamped over the pendant, its heat now a frantic, warning pulse against her palm. The giggling surged into a shriek of laughter, tearing through the grove. Behind her, a sound erupted from the centre of the circle, a wet, tearing noise, as if the earth itself was being ripped open. She didn’t look back. Breaking rule one of the goblin chase. Didn’t look back. But here, in this place, not looking back felt like the only thing keeping her lungs working, her legs moving. She hit the line of standing stones at full sprint, her shoulder clipping against rough, cold granite. The world distorted. For a split second, the stones seemed to writhe, the carvings twisting into leering faces. Then she was through, stumbling out onto the familiar, dew-soaked grass of Richmond Park proper. The cold night air of London was a shock, clean and sharp and blessedly mundane. The distant roar of the A307 was the sweetest sound she had ever heard. She bent double, hands on her knees, sucking in ragged breaths. The pendant was cooling rapidly against her chest, returning to its usual faint warmth. She stayed like that for a long moment, listening to the normal world reassert itself. Then, with a trembling hand, she pulled the chain over her head. The silver was icy now. She wrapped it around her fist, the stone digging into her palm, and turned back to the grove. Between the two eastern stones, just inside the boundary, a shape was stirring. It was low and dark, pulling itself up from the grass. It wasn’t a shadow anymore. It had substance. As Rory watched, frozen in the sickly yellow glow of a distant park lamp, a single, pale hand, too long and thin, reached out and gripped the side of a standing stone. A low, gurgling sound bubbled from within the grove. It might have been a laugh. The fingers tightened, cracking against the ancient rock.
created_at"2026-03-11T22:23:41.401Z" 3/11/2026, 10:23:41 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency516
moderation_latency(null)
generation_time20295
tokens_prompt4560
tokens_completion2702
native_tokens_prompt4141
native_tokens_completion2302
native_tokens_completion_images(null)
native_tokens_reasoning551
native_tokens_cached6
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-1773267821-JKxzoqgg89lsxdgAJmsh"
upstream_id"gen-1773267821-JKxzoqgg89lsxdgAJmsh"
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
82.83% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1456
totalAiIsmAdverbs5
found
0
adverb"very"
count2
1
adverb"completely"
count2
2
adverb"utterly"
count1
highlights
0"very"
1"completely"
2"utterly"
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)
10.71% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1456
totalAiIsms26
found
0
word"chill"
count1
1
word"pulsed"
count2
2
word"throb"
count1
3
word"perfect"
count3
4
word"silence"
count3
5
word"reminder"
count1
6
word"warmth"
count4
7
word"echoing"
count1
8
word"scanned"
count1
9
word"beacon"
count1
10
word"searing"
count1
11
word"porcelain"
count1
12
word"charged"
count1
13
word"whisper"
count2
14
word"pulse"
count2
15
word"familiar"
count1
highlights
0"chill"
1"pulsed"
2"throb"
3"perfect"
4"silence"
5"reminder"
6"warmth"
7"echoing"
8"scanned"
9"beacon"
10"searing"
11"porcelain"
12"charged"
13"whisper"
14"pulse"
15"familiar"
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
narrationSentences143
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences143
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences144
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords15
totalWords1456
ratio0.01
matches
0"Forward."
1"Trick of the light. Refracted through the boundary. It’s playing with you."
2"Here. Now."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions14
wordCount1446
uniqueNames6
maxNameDensity0.35
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Rory"
discoveredNames
Richmond2
Park2
October1
London3
Moving1
Rory5
persons
0"Rory"
places
0"Richmond"
1"Park"
2"London"
globalScore1
windowScore1
70.21% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount3
matches
0"spiral that seemed to shift if you stared too long"
1"felt like wading through something visc"
2"felt like the only thing keeping her lu"
62.64% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.374
wordCount1456
matches
0"Not the usual chill of silver, but a deep, marrow-level cold"
1"not for the entrance of the grove, but for the gap between two of the eastern stones"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences144
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs35
mean41.6
std22.78
cv0.548
sampleLengths
055
16
282
343
484
511
659
74
849
952
1066
1112
1277
1350
1439
1547
1654
1741
1829
1913
201
217
2248
2327
2410
2546
2628
2756
2849
2970
3050
3154
3250
3364
3423
97.90% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences143
matches
0"being pulled"
1"was clamped"
2"being ripped"
48.48% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs220
matches
0"was leading"
1"was responding"
2"was coming"
3"was searing"
4"was cooling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences144
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1452
adjectiveStacks2
stackExamples
0"against rough, cold granite."
1"familiar, dew-soaked grass"
adverbCount58
adverbRatio0.03994490358126722
lyAdverbCount14
lyAdverbRatio0.009641873278236915
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences144
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences144
mean10.11
std6.92
cv0.684
sampleLengths
08
121
219
37
41
55
618
726
828
96
104
1115
129
1313
146
152
1612
1725
189
197
2029
215
224
231
241
2510
2614
274
2820
296
305
314
3210
333
3422
3514
367
374
3814
3918
409
4116
422
4320
442
455
4621
474
484
494
38.19% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.2569444444444444
totalSentences144
uniqueOpeners37
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences129
matches
0"Dark, low to the ground."
1"Then, a shadow spilled around"
2"Then she was through, stumbling"
3"Then, with a trembling hand,"
ratio0.031
55.66% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount53
totalSentences129
matches
0"It pulsed, once, a sluggish,"
1"It had to be here."
2"It was thick, watchful."
3"She stepped over a gnarled"
4"It was leading her, or"
5"She wasn’t sure which felt"
6"It came from her left,"
7"She was left with only"
8"She exhaled, slow and controlled."
9"Her boots, chosen for city"
10"It was distant, but clear,"
11"It came from everywhere and"
12"It was a fact."
13"It was in the way"
14"It was in the giggling"
15"She scanned the grove, her"
16"It slipped behind a trunk"
17"It’s playing with you.*"
18"She shook her head, a"
19"Its glow was steadier now,"
ratio0.411
53.02% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount105
totalSentences129
matches
0"The pendant’s chain was cold"
1"Rory’s fingers closed around the"
2"It pulsed, once, a sluggish,"
3"It had to be here."
4"The grove was nothing like"
5"Here, the grass was longer,"
6"The standing stones, rough-hewn and"
7"The silence between them wasn’t"
8"It was thick, watchful."
9"She stepped over a gnarled"
10"The pendant warmed against her"
11"It was leading her, or"
12"She wasn’t sure which felt"
13"A soft, wet, dragging noise,"
14"It came from her left,"
15"Rory stopped, her breath held"
16"The noise stopped the instant"
17"She was left with only"
18"She exhaled, slow and controlled."
19"The pendant pulsed again."
ratio0.814
38.76% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences129
matches
0"Now.* She looked down."
ratio0.008
20.09% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences64
technicalSentenceCount11
matches
0"The standing stones, rough-hewn and grey with age, formed a perfect circle, their tops worn smooth by centuries of wind that didn’t touch the world outside this…"
1"She was left with only the frantic thud of her own heart and the distant, ever-present hum of London’s sprawl, a muted reminder of a world that made sense."
2"It slipped behind a trunk so fast she couldn’t have described it, a suggestion of movement that left her eyes aching."
3"In the very heart of that circle, the grass was pressed flat, as if something had lain there."
4"Something pale, creamy-white, catching the faint moonlight that filtered through the leaves."
5"She knew, with a certainty that bypassed logic and settled like ice in her gut, that she was completely and utterly alone in the grove."
6"The flowers in the circle seemed to pulse, their colours deepening, bleeding into one another."
7"Behind her, a sound erupted from the centre of the circle, a wet, tearing noise, as if the earth itself was being ripped open."
8"But here, in this place, not looking back felt like the only thing keeping her lungs working, her legs moving."
9"She hit the line of standing stones at full sprint, her shoulder clipping against rough, cold granite."
10"The pendant was cooling rapidly against her chest, returning to its usual faint warmth."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount2
matches
0"she said, her voice flat in the still air"
1"she said, the words barely a whisper"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences3
tagDensity0.667
leniency1
rawRatio0
effectiveRatio0
78.8836%