Run: 2026-03-18-01KM087VXXRW33MFW864GCRGD2

Run Details

Duration:
31.8s
Cost:
$0.021691
Provider:
OpenAI

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
Rory dragged the branch aside and ducked through the last gap in the roots, the Heartstone thumping against her sternum as if it had found a second pulse. She had followed that warmth across Richmond Park with her phone in one hand and her keys in the other, past the locked gates and the black trunks and the patches of wildflowers that had no business thriving here. The pendant had gone hotter with every step, a red ember beneath her jumper, until the trees had closed in and the path had vanished into this hidden clearing, ringed by ancient oak standing stones and a silence that pressed against her ears. Her torch beam hit the nearest stone and slid off a coat of pale moss. Beyond it, the grove opened like a held breath. Wildflowers crowded the grass in a hard, bright spill of colour. Bluebells. Foxgloves. White star-shaped blooms with narrow stems. All of them healthy, all of them wrong in the dark, as if someone had planted a summer garden in the middle of a graveyard and expected no one to notice. Rory shut the branch behind her. The sound snapped too loud. She stopped. Nothing answered. No owl call, no rustle in the leaves, no distant road noise from the park. The world beyond the ring of stones had gone thin, as if the grove had folded it away. “Brilliant,” she muttered. The pendant warmed again, a quick pulse that drew her attention to the hollow at the centre of the clearing. She stepped forward with careful feet, the gravel and roots giving way to soft earth. Her trainers sank a little. The place smelled of damp bark and sweet sap, with another scent beneath it, sharp as copper held on the tongue. Her torch beam caught a line of chalk on the ground. Not chalk, she saw on closer look, but a pale scratch cut into the soil in a long curve that looped back on itself. A shape like an eye, if an eye had grown a spine. She crouched and ran a finger above it without touching. The skin at the back of her neck tightened. No wind moved the grass, and yet the flowers at the edge of the mark trembled, all at once, as if a passing body had brushed them. Rory rose in one sharp motion. “Hello?” The word went nowhere. It vanished into the trunks. Her phone buzzed in her pocket. She pulled it out. No signal. The screen showed the map app she had opened on the bus, the blue dot sitting square in the middle of the grove. She frowned, swiped the screen, and froze. The blue dot had shifted. It now sat behind her. She turned. The standing stones loomed in a broken ring, mottled with lichen and age. Her torch beam swept across bark, grass, wildflowers, empty air. No footsteps, no movement, just the long shadows the stones cast over one another. Her phone buzzed again. One new message. Unknown number. DON’T LET IT SEE YOU WALK IN A STRAIGHT LINE Rory stared at the screen. The pendant gave a faint, eager throb against her chest. “Cute.” She turned the phone over, checked the number, then the message again. It had already vanished from the lock screen. The grove held its silence around her, patient and listening. She slid the phone into her pocket and hooked two fingers under the silver chain of the pendant, lifting it free. The Heartstone hung from her hand, thumbnail-sized and deep crimson, its inner light dim as banked coals. It warmed her palm as if it recognised her touch. She had no answer for that. She had never had one. The first time it had appeared in the bottom of her delivery bag, wrapped in brown paper and tied with red thread, she had assumed someone in London had lost their mind. Now it pulled at her like a hook under the skin. A soft sound crept through the grove. Tap. Rory went still. Tap. It came again, light and dry, from somewhere beyond the ring of stones. Not a branch. Not a footstep. More like a knuckle against wood. She slid the pendant back under her jumper and moved towards the nearest stone, keeping one hand on the torch. The beam climbed the rough surface and caught grooves cut into the oak, old as scar tissue, the lines half-swallowed by lichen. She traced one with her eyes and found another, then another, all of them curving together into a knot pattern that made her stomach tighten. Tap. Closer this time. Rory turned in a slow sweep, the torch beam snagging on nothing, then on something pale between two stones, a shape at the edge of her sight. She snapped the light towards it. A hare sat at the base of the farthest standing stone, one ear torn and one eye bright as a bead. It stared at her without blinking, its white fur stained with mud along the flank. Then it twitched, folded in on itself, and vanished behind the stone. Rory took a step after it. The ground caught her boot. She looked down. Her shoelace had looped itself round a root that had not been there a second before. Thick, black, and glossy, it curled over the soil like a sleeping snake. She jerked her foot free and raised the torch. The root had gone. Only a tuft of grass remained, bent flat where the thing had held her. She swallowed once, hard. “Right.” The word sounded foolish the second she said it. She moved towards the centre of the grove anyway, because standing still had started to feel like consent. The pendant warmed through the jumper, steady now, guiding her to a narrow gap between two stones that leaned towards one another like teeth. Between them the air looked darker than the rest, a bruise in the shape of a doorway. Rory stopped at the threshold. The torch beam struck the darkness and shortened, as if the gap drank light. From somewhere deep inside the stones, a low hum began. Not loud. Not enough to call it sound at first. More a pressure under the teeth, a vibration in the bones of her jaw. The Heartstone answered with a pulse so strong it lifted the chain against her throat. The scar on her left wrist burned. She stared at it. The crescent mark paled and then brightened, thin as a line drawn in frost. The hum rose by a thread. A whisper slid through the stones. Rory lifted her head. The words came apart as they reached her, blurred by the thick air. Aurora. Her fingers clenched round the torch. The voice did not sound human. It wore human shape, just enough to be cruel. The syllables rubbed against one another, wrong at the joins. “Who’s there?” No answer. The whisper came again, closer to her right ear this time, intimate and stale. Aurora. She spun, torch sweeping the clearing. The beam passed over the flowers, the stone ring, the roots, the dark trunks beyond. Nothing stood there, and yet her skin crawled as if a face had hovered just out of reach. She backed up one step and caught the edge of a stone with her shoulder. A flake of lichen dusted her sleeve. The hum deepened. The gap between the two leaning stones darkened, then thinned, then widened again, as if something on the other side had pressed a hand against an unseen membrane. Rory’s breath came tight through her nose. “Not funny.” The message on her phone returned, bright on the screen when she pulled it out again. DON’T LOOK TWICE She did not look twice. She looked once, shut the phone, and shoved it into her pocket. Her gaze flicked across the clearing in one clean sweep. The hare had gone. The mark in the earth had gone. The root that had caught her boot had gone too. A shape moved at the far edge of the torch light. She snapped the beam towards it. A woman stood between the trees. Rory’s mouth went dry. The figure wore a long coat that drank the light, hair hanging loose and silver at the ends. Her face lay in shadow, but her posture held something familiar, a tilt of the head Rory knew from mirrors and CCTV and the split second before she made a bad call and survived it anyway. The figure lifted one hand. Rory did not lower her torch. “Eva?” The woman smiled. Too many teeth showed in the grin. Not sharp. Just wrong in the way the mouth opened, as if it had learned the shape of a smile from a child’s drawing and never improved on it. Rory stepped back so fast her heel skidded on wet earth. The pendant flared hot against her chest. The hum shot through the grove, suddenly loud enough to shake leaves loose from the dark branches overhead. The figure raised her hand again. The movement looked human until the fingers bent the wrong way, joint by joint, with a sound like wood splitting. Rory swung the torch towards the stones. The beam hit the gap between them, and the darkness inside had gone thin as skin. Something pale moved beyond it, pressing closer, a surface without shape, then a seam opened down the centre with a wet, eager sound. The Heartstone seared through her jumper. Rory gasped and stumbled, her hand flying to her chest as the silver chain bit her throat. The pendant burned red through the fabric, bright as a coal held to linen. The seam in the darkness widened. A hand slid out first, long-fingered and pale, the nails black and glossy, then another hand, and behind them a face began to form in the gap, one eye opening where no eye should fit. It turned towards her. And the grove rushed in, all at once, with a chorus of whispers from every stone.
created_at"2026-03-18T10:35:39.857Z" 3/18/2026, 10:35:39 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency28547
moderation_latency(null)
generation_time31031
tokens_prompt4560
tokens_completion3737
native_tokens_prompt4064
native_tokens_completion4143
native_tokens_completion_images0
native_tokens_reasoning2098
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.0216915
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0b18bdbbd0fbdfed0169ba7ffbeac08197967f674bfa31a12d"
is_byokfalse
latency268
model_permaslug"openai/gpt-5.4-mini-20260317"
provider_name"OpenAI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773830139-oauG56kNQSMCCEO6ScV6"
upstream_id"resp_0b18bdbbd0fbdfed0169ba7ffbeac08197967f674bfa31a12d"
total_cost0.0216915
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences7
tagDensity0.143
leniency0.286
rawRatio0
effectiveRatio0
97.01% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1674
totalAiIsmAdverbs1
found
0
adverb"suddenly"
count1
highlights
0"suddenly"
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)
52.21% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1674
totalAiIsms16
found
0
word"pulse"
count3
1
word"warmth"
count1
2
word"silence"
count2
3
word"trembled"
count1
4
word"loomed"
count1
5
word"footsteps"
count1
6
word"throb"
count1
7
word"traced"
count1
8
word"stomach"
count1
9
word"whisper"
count2
10
word"flicked"
count1
11
word"familiar"
count1
highlights
0"pulse"
1"warmth"
2"silence"
3"trembled"
4"loomed"
5"footsteps"
6"throb"
7"traced"
8"stomach"
9"whisper"
10"flicked"
11"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
narrationSentences151
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences151
filterMatches
0"SEE"
hedgeMatches
0"started to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences157
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1674
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions1
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount1665
uniqueNames6
maxNameDensity0.96
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Heartstone4
Richmond1
Park1
Rory16
London1
Tap3
persons
0"Heartstone"
1"Rory"
places
0"Richmond"
1"Park"
2"London"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences108
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.597
wordCount1674
matches
0"Not chalk, she saw on closer look, but a pale scratch cut into the soil in a long curve"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences157
matches
0"followed that warmth"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs91
mean18.4
std20.62
cv1.121
sampleLengths
028
182
274
311
42
535
63
761
847
910
109
1127
126
131
149
1542
165
175
182
1937
204
213
222
2310
2415
251
2651
2781
287
291
303
311
3225
3367
341
353
3633
3748
386
395
403
4138
424
4314
444
451
469
4759
485
4914
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences151
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs246
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences157
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1669
adjectiveStacks1
stackExamples
0"White star-shaped blooms"
adverbCount50
adverbRatio0.029958058717795086
lyAdverbCount2
lyAdverbRatio0.0011983223487118035
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences157
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences157
mean10.66
std8.48
cv0.796
sampleLengths
028
139
243
315
49
511
61
71
86
931
106
115
122
132
1415
1518
163
1720
1815
195
2021
2111
2224
2312
2410
259
2627
276
281
294
305
316
324
332
3423
357
365
375
382
3913
4010
4114
424
433
442
4515
4610
471
4812
498
42.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.24203821656050956
totalSentences157
uniqueOpeners38
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences135
matches
0"More like a knuckle against"
1"Then it twitched, folded in"
2"Only a tuft of grass"
3"More a pressure under the"
4"Too many teeth showed in"
5"Just wrong in the way"
ratio0.044
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount39
totalSentences135
matches
0"She had followed that warmth"
1"Her torch beam hit the"
2"She stepped forward with careful"
3"Her trainers sank a little."
4"Her torch beam caught a"
5"She crouched and ran a"
6"It vanished into the trunks."
7"Her phone buzzed in her"
8"She pulled it out."
9"She frowned, swiped the screen,"
10"It now sat behind her."
11"Her torch beam swept across"
12"Her phone buzzed again."
13"She turned the phone over,"
14"It had already vanished from"
15"She slid the phone into"
16"It warmed her palm as"
17"She had no answer for"
18"She had never had one."
19"It came again, light and"
ratio0.289
52.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount110
totalSentences135
matches
0"Rory dragged the branch aside"
1"She had followed that warmth"
2"The pendant had gone hotter"
3"Her torch beam hit the"
4"Wildflowers crowded the grass in"
5"Rory shut the branch behind"
6"The sound snapped too loud."
7"The world beyond the ring"
8"The pendant warmed again, a"
9"She stepped forward with careful"
10"Her trainers sank a little."
11"The place smelled of damp"
12"Her torch beam caught a"
13"A shape like an eye,"
14"She crouched and ran a"
15"The skin at the back"
16"Rory rose in one sharp"
17"The word went nowhere."
18"It vanished into the trunks."
19"Her phone buzzed in her"
ratio0.815
37.04% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences135
matches
0"Now it pulled at her"
ratio0.007
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount6
matches
0"Rory dragged the branch aside and ducked through the last gap in the roots, the Heartstone thumping against her sternum as if it had found a second pulse."
1"She had followed that warmth across Richmond Park with her phone in one hand and her keys in the other, past the locked gates and the black trunks and the patch…"
2"All of them healthy, all of them wrong in the dark, as if someone had planted a summer garden in the middle of a graveyard and expected no one to notice."
3"It warmed her palm as if it recognised her touch."
4"The gap between the two leaning stones darkened, then thinned, then widened again, as if something on the other side had pressed a hand against an unseen membra…"
5"The figure wore a long coat that drank the light, hair hanging loose and silver at the ends."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
7.14% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences7
tagDensity0.143
leniency0.286
rawRatio1
effectiveRatio0.286
88.3006%