Run: 2026-03-11-01KKFK1FN32DG8TDQFXCY7VH5B

Run Details

Duration:
20.5s
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
Aurora’s boot caught on a root that hadn’t been there a moment before. She stumbled, catching herself on the rough bark of an oak that stood at the edge of the clearing. The pendant at her throat pulsed with a warmth that had nothing to do with the cool, damp air pressing against her skin. A signal. A warning. The last time it had done that, she’d nearly walked into a nest of something very old and very hungry beneath a London bridge. She straightened, her breath coming in short, sharp clouds. The Fae Grove was nothing like the description in the dry, academic notes she’d found online. They’d called it a pocket of untamed wilderness, a sanctuary for rare flora. They’d neglected to mention the way the light from the setting sun seemed to get trapped here, pooling in the grass in sickly amber puddles long after the sky beyond the boundary oaks had turned to a bruised twilight purple. She’d come here for a reason. A name. *Isolde.* A whisper she’d overheard in the bar’s shadowed corner, a name linked to the strange, cold burn in her bones that had sent her seeking answers in the first place. The grove was the only place that name appeared anywhere, etched into folklore, a footnote in a crumbling manuscript Silas had lent her. He’d told her not to go. “Some doors don’t need opening, Rory,” he’d said, his voice low over the clink of glasses. “They need guarding.” But Rory had never been good at guarding her own curiosity. It had left her with a crescent scar on her wrist and a flat in London far from an ex named Evan. Curiosity was her compass, and right now it pointed directly into the heart of this unnaturally silent clearing. The silence was the first thing. Not peaceful, not the quiet of a park after dusk. It was a solid thing, a weight that pressed against her eardrums, smothering the distant hum of traffic, the chirp of crickets, the normal sounds of a city night. Here, the only sound was the frantic drum of her own heart and the occasional, disquieting *snap* of a twig somewhere in the dense, watching trees that ringed the grove. Each snap sounded too close, too deliberate. She pulled her jacket tighter. The air tasted of petrichor, of wet stone and crushed greenery, but underneath it was something else. Sweet. Cloying. Like rotting honey. The wildflowers were wrong. In the deepening gloom, their colours seemed to vibrate, too vivid, too intense. A patch of bluebells glowed with a faint, phosphorescent light. She knelt, her fingers hovering over one. Its petals were waxy, cold to the touch. It didn’t feel like a flower. It felt like plastic, or bone. A rustle. Not in the trees behind her, but in the tall, unmoving grass to her left. Rory froze, her hand drifting to the small, cold weight of the pendant. It pulsed again, a steady, rhythmic beat against her sternum. *Danger. Here. Now.* She scanned the sea of dark grass. Nothing moved. The rustle had stopped as suddenly as it had started. Her eyes strained, picking apart the shadows between the stalks. There was a shape there, she thought. A darker patch in the dark. But it could have been a trick of the failing light, a knot in the earth. She stood slowly, deliberately, and took a step towards it. The shape flowed. It didn’t move like an animal running or crawling. It *flowed*, a liquid ripple of deeper shadow that merged seamlessly with the surrounding gloom. It poured itself behind the trunk of a massive, ancient oak at the grove’s far edge and was gone. Rory’s breath hitched. Her mind, trained for Pre-Law argument and delivery-route efficiency, scrambled for a rational explanation. A trick of the eye. A bird taking flight. Her own fear, manifesting. The pendant flared, a sudden, sharp heat that made her gasp and clutch at it through the fabric of her shirt. Not warm now. Hot. A brand. A sound threaded through the oppressive silence. High, thin, and impossibly sweet. A lullaby. A woman’s voice, humming a tune she almost recognized. It came from everywhere and nowhere, echoing off the oaks as if the clearing itself were singing. The notes twisted, souring at the edges, the melody slipping off-key into a discordant whine that set her teeth on edge. She spun around, searching for the source. The grove had changed. Or perhaps, she realized with a cold dread that settled in her stomach, she had only just begun to see it properly. The standing stones at the perimeter, which had seemed like weathered grey monoliths in the daylight, now appeared to lean inward. Their surfaces were covered in faint, spiralling carvings she was certain hadn’t been there before. In the gloom, the grooves looked wet, black, like old blood in the cracks of stone. The path she’d followed in was gone. Not overgrown, but erased. The trampled grass behind her now stood as tall and uniform as the rest, offering no sign of her passage. She was alone in the centre, and the edges of the world had grown teeth. The humming grew louder, the words now just beyond the edge of comprehension. It was a child’s song, she thought. No. A dirge. It was both. Another rustle, this time to her right. Then one behind her. Then a soft, wet sound, like something heavy and sodden being dragged across moss, from directly ahead. They were circling. The Heartstone burned. Rory pressed it against her palm, the heat a grounding pain. Think. *Think.* The notes Silas had shown her spoke of a bargain. A guardian. Isolde, a name that meant nothing but felt like a curse on her tongue. The grove wasn’t a park. It was a cage. Or a mouth. A shape detached itself from the shadows of the leaning stone to her left. It was tall, impossibly thin, a silhouette of tangled branches and matted dark that seemed to absorb the fading light. It didn’t have a face, just a smooth, pale oval that might have been a mask or might have been something worse. It tilted that featureless head, the lullaby now emanating directly from its direction. Rory backed away, her heel catching on a root that groaned under her weight. The sound was deep, vibrational, felt in her bones more than heard. The shape took a gliding step forward. It made no sound on the earth. Then another. The grove was no longer silent. The sweet rot scent was overpowering now, filling her lungs, making her vision swim at the edges. The vibrant colours of the flowers had leached away, leaving them a uniform, corpse-grey. The air grew thick, syrupy. She fumbled in her jacket pocket, her fingers closing around the small, solid weight of her phone. A useless talisman of the rational world. She didn’t dare look away from the approaching figure to check for a signal. There wouldn’t be one. She was between worlds here. The shape raised a long, branch-like arm. The lullaby reached a crescendo, a piercing, beautiful note that made her temples throb. Another shape emerged from the trees on her right. And another, from the left. They were coming from the stones, from the grass, silent and fluid, a gathering of tall, bent shadows. The pale ovals of their faces, all identical, all blank, turned towards her. The pendant’s heat was searing now, a desperate, silent scream against her skin. It was trying to warn her, to push her away, but the grove had no exit. The boundary oaks seemed miles away, their forms wavering as if seen through water. The first figure was close enough now that she could see the texture of its form. Not bark. Not shadow. Woven hair. Matted, dark, dripping strands of it, intricately twisted into the shape of a body. And the pale face, it wasn’t a mask. It was skin, stretched drum-tight over a skull, devoid of features save for two dark, sunken pits where eyes should be. It reached for her. And from the twisted weave of its chest, a tiny, pale hand emerged, no bigger than a doll’s, beckoning her closer with a curling finger. The lullaby poured from that tiny, grasping hand. The cold dread in Rory’s stomach became a solid, icy knot. This wasn’t a warning. This wasn’t a test. This was a claiming. The grove hadn’t been waiting for a visitor. It had been waiting for a meal. The Heartstone flared white-hot, a final, blinding pulse against her chest. The world fractured. The twisted trees, the leaning stones, the silent, reaching figures—all dissolved into a smear of colour and screaming sound. Rory’s legs gave way as the true nature of the clearing unfolded around her, a sudden, violent revelation of what lived in the space between the seconds, between the breaths, in the Fae Grove where Isolde waited.
created_at"2026-03-11T23:17:19.681Z" 3/11/2026, 11:17:19 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency997
moderation_latency(null)
generation_time20341
tokens_prompt4560
tokens_completion2543
native_tokens_prompt4141
native_tokens_completion2235
native_tokens_completion_images(null)
native_tokens_reasoning330
native_tokens_cached4139
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-1773271039-9QsF0tYqyYIdpLDK27NS"
upstream_id"gen-1773271039-9QsF0tYqyYIdpLDK27NS"
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
83.32% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1499
totalAiIsmAdverbs5
found
0
adverb"very"
count2
1
adverb"suddenly"
count1
2
adverb"slowly"
count1
3
adverb"deliberately"
count1
highlights
0"very"
1"suddenly"
2"slowly"
3"deliberately"
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)
13.28% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1499
totalAiIsms26
found
0
word"pulsed"
count2
1
word"warmth"
count1
2
word"sanctuary"
count1
3
word"whisper"
count1
4
word"etched"
count1
5
word"silence"
count2
6
word"weight"
count4
7
word"gloom"
count3
8
word"rhythmic"
count1
9
word"scanned"
count1
10
word"oppressive"
count1
11
word"echoing"
count1
12
word"stomach"
count2
13
word"throb"
count1
14
word"searing"
count1
15
word"wavering"
count1
16
word"pulse"
count1
17
word"fractured"
count1
highlights
0"pulsed"
1"warmth"
2"sanctuary"
3"whisper"
4"etched"
5"silence"
6"weight"
7"gloom"
8"rhythmic"
9"scanned"
10"oppressive"
11"echoing"
12"stomach"
13"throb"
14"searing"
15"wavering"
16"pulse"
17"fractured"
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
narrationSentences145
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences145
filterMatches(empty)
hedgeMatches
0"seemed to"
1"appeared to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences146
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords7
totalWords1498
ratio0.005
matches
0"Isolde."
1"snap"
2"Danger. Here. Now."
3"flowed"
4"Think."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1489
uniqueNames9
maxNameDensity0.47
worstName"Rory"
maxWindowNameDensity1
worstWindowName"London"
discoveredNames
London2
Fae2
Grove2
Silas2
Rory7
Evan1
Pre-Law1
Heartstone2
Isolde3
persons
0"Silas"
1"Rory"
2"Evan"
3"Heartstone"
4"Isolde"
places
0"London"
1"Fae"
2"Grove"
globalScore1
windowScore1
71.88% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount3
matches
0"felt like plastic, or bone"
1"felt like a curse on her tongue"
2"dark that seemed to absorb the fading light"
66.49% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.335
wordCount1498
matches
0"Not in the trees behind her, but in the tall, unmoving grass to her left"
1"Not overgrown, but erased"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences146
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs36
mean41.61
std24.8
cv0.596
sampleLengths
083
178
287
351
482
527
654
717
826
958
1010
113
1243
1330
1427
1561
1685
1746
1826
1928
203
2154
2269
2326
2414
252
2642
2747
2821
2945
3043
3165
324
3333
3438
3570
95.58% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences145
matches
0"was gone"
1"were covered"
2"was gone"
3"being dragged"
46.39% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs217
matches
0"were singing"
1"were circling"
2"were coming"
3"was searing"
4"was trying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences146
ratio0.007
matches
0"The twisted trees, the leaning stones, the silent, reaching figures—all dissolved into a smear of colour and screaming sound."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1496
adjectiveStacks0
stackExamples(empty)
adverbCount55
adverbRatio0.03676470588235294
lyAdverbCount17
lyAdverbRatio0.011363636363636364
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences146
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences146
mean10.26
std7.71
cv0.752
sampleLengths
013
119
223
32
42
524
69
716
813
940
106
112
1231
1323
146
1516
163
1711
1822
1918
206
2110
2229
2330
247
255
2617
271
281
293
304
3113
3210
337
348
356
366
372
3815
3913
4010
411
421
431
447
452
4610
4710
487
496
32.19% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats26
diversityRatio0.2534246575342466
totalSentences146
uniqueOpeners37
53.76% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences124
matches
0"Then one behind her."
1"Then a soft, wet sound,"
ratio0.016
81.29% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences124
matches
0"She stumbled, catching herself on"
1"She straightened, her breath coming"
2"They’d called it a pocket"
3"They’d neglected to mention the"
4"She’d come here for a"
5"He’d told her not to"
6"he’d said, his voice low"
7"It had left her with"
8"It was a solid thing,"
9"She pulled her jacket tighter."
10"She knelt, her fingers hovering"
11"Its petals were waxy, cold"
12"It didn’t feel like a"
13"It felt like plastic, or"
14"It pulsed again, a steady,"
15"She scanned the sea of"
16"Her eyes strained, picking apart"
17"She stood slowly, deliberately, and"
18"It didn’t move like an"
19"It *flowed*, a liquid ripple"
ratio0.347
40.65% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount104
totalSentences124
matches
0"Aurora’s boot caught on a"
1"She stumbled, catching herself on"
2"The pendant at her throat"
3"The last time it had"
4"She straightened, her breath coming"
5"The Fae Grove was nothing"
6"They’d called it a pocket"
7"They’d neglected to mention the"
8"She’d come here for a"
9"*Isolde.* A whisper she’d overheard"
10"The grove was the only"
11"He’d told her not to"
12"he’d said, his voice low"
13"It had left her with"
14"Curiosity was her compass, and"
15"The silence was the first"
16"It was a solid thing,"
17"Here, the only sound was"
18"Each snap sounded too close,"
19"She pulled her jacket tighter."
ratio0.839
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences124
matches(empty)
ratio0
2.16% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount13
matches
0"The pendant at her throat pulsed with a warmth that had nothing to do with the cool, damp air pressing against her skin."
1"Here, the only sound was the frantic drum of her own heart and the occasional, disquieting *snap* of a twig somewhere in the dense, watching trees that ringed t…"
2"It *flowed*, a liquid ripple of deeper shadow that merged seamlessly with the surrounding gloom."
3"The pendant flared, a sudden, sharp heat that made her gasp and clutch at it through the fabric of her shirt."
4"The notes twisted, souring at the edges, the melody slipping off-key into a discordant whine that set her teeth on edge."
5"The standing stones at the perimeter, which had seemed like weathered grey monoliths in the daylight, now appeared to lean inward."
6"Isolde, a name that meant nothing but felt like a curse on her tongue."
7"It was tall, impossibly thin, a silhouette of tangled branches and matted dark that seemed to absorb the fading light."
8"It didn’t have a face, just a smooth, pale oval that might have been a mask or might have been something worse."
9"Rory backed away, her heel catching on a root that groaned under her weight."
10"The sweet rot scent was overpowering now, filling her lungs, making her vision swim at the edges."
11"The lullaby reached a crescendo, a piercing, beautiful note that made her temples throb."
12"The boundary oaks seemed miles away, their forms wavering as if seen through water."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount1
matches
0"he’d, his voice low over the clink of glasses"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"he’d (would)"
dialogueSentences2
tagDensity0.5
leniency1
rawRatio1
effectiveRatio1
72.8997%