Run: 2026-03-18-01KM08AYGKCMT44E9CJAFMN2ER

Run Details

Duration:
16.0s
Cost:
$0.015270
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
Aurora Carter dug her boot heel into the mud and hauled herself over the last root, the silver chain around her neck yanking hard enough to sting her throat. The pendant knocked once against her sternum, hot as a swallowed ember. She caught herself against an oak trunk, slapped a hand over the small crimson stone, and felt it pulse beneath her palm. Not a steady beat. A cramped, urgent throb, like something trapped under glass. “Steady.” Her own voice sounded thin in the black between the trees. She lowered her hand and stared into the clearing ahead. The standing stones rose from the grass in a loose ring, ancient oak pillars shouldering up out of the earth like broken teeth. Wildflowers crowded their bases, pale heads turning in the dark with no breeze to trouble them. A shallow bowl of light sat in the middle of the grove, not from any lamp or lantern, just a faint wrongness that let her see the moss, the roots, the pale sheen on the stone faces. Richmond Park had fallen away behind her. Here, the city felt like a story someone had half-remembered and then abandoned. She stepped through the ring. The pendant warmed again. Aurora stopped so fast her trainers slid in the damp grass. The stone at her chest gave a hard, excited thump. Her skin prickled. She looked down at it, then up at the nearest monolith, then at the one beyond it, each one etched with scratches that resembled runes until she got close enough to see they were older than any language she knew. Not carved by hand. Worn. Pressed into the wood by time and teeth. A faint sound moved through the grove. Not wind. Not quite. She turned in place. Nothing. Her phone light shook in her grip, a white cone that skimmed over foxgloves and nettles, over a ring of mushrooms crusted silver at the edges, over a patch of grass bent flat as if some heavy body had lain there and risen a second before she arrived. “You’re wound up for nothing,” she muttered. The grove answered with a soft crack from somewhere beyond the stones. Aurora froze. It came again, a dry little snap, followed by another. Branches? Bones? She let the light crawl towards the far side of the clearing. A line of black trunks stood there, close together, their bark slick with a dark shine that caught her torch and swallowed it. Nothing moved. Then, in the corner of her eye, something pale flicked between two trees. She swung round. The light hit a hanging strip of bark, white on one side, dark on the other, twisting slowly from a branch. Aurora let out a breath through her teeth. “Brilliant.” The pendant had gone hot enough to burn. She pulled it from under her collar and held it out. The crimson stone glowed from within, not bright, just alive. The silver chain slipped through her fingers. Near the grove’s centre, the warmth sharpened, aimed itself, as if the pendant had smelled something. A Hel portal. Yu-Fei’s warning came back to her, crisp as a knife against a plate. Don’t go near anything that hums. Don’t go near anything that listens back. And if your little red charm starts acting like it owns you, call me first. Aurora curled her fingers around the pendant and kept walking. The grass muffled her steps. The standing stones watched. She passed the first one and caught herself looking at the pitted surface, at the shallow grooves near the base where handprints might once have worn themselves into the oak. The air in the centre of the grove had a taste to it, metallic and green, like pennies left in rainwater. She drew a breath and regretted it. Something chirped from the trees. Not a bird. Too neat. Too close to human. It sounded like a child clicking a toy between thumb and finger. Aurora stopped again. Silence dropped over the grove so fast it felt forced. Then, from somewhere behind her, the same sound answered. Click. Her spine went tight. She turned. The phone beam swept the ring of stones, the black undergrowth, the broken roots. Nothing. The sound had come from her left, or perhaps from behind the nearest stone, or perhaps from the far trees. The grove seemed to shift every time she looked at it. A path appeared where none had been a second before, then folded shut with a hush of leaves. She backed towards the centre. The pendant jerked against her grip. She lowered it and saw the stone had brightened again, a small pulse beating beneath her fingers. The warmth had a direction now. Not the middle of the grove. Beyond it. At the far edge of the clearing, between two standing stones, a seam of darkness ran from the ground to chest height. It looked like a tear in the air, narrow as a split in cloth. The grass around it leaned away. The flowers nearby had gone still, their heads angled towards the gap as if listening. Aurora’s mouth dried. “Well,” she said, and hated how small it sounded, “that’s new.” The seam shivered. A low hum rolled out of it, felt more than heard, and the pendant answered with a hot, bright pulse that sent a sting through her palm. She hissed and almost dropped it. The silver chain tangled round her knuckles. She took one step closer, then stopped when her torch beam thinned and bent at the edges of the dark. Her eyes caught movement beyond the seam. A shape stood in the gap. She raised the phone higher. The light touched nothing solid. It slid over the black like oil over glass. Then the shape moved again, and for one awful second she thought she saw a face pressed close to the other side, pale and oval, with a mouth too wide for the rest of it. She blinked. The image broke apart into bark, shadow, and the split in the air. “Nope.” Her voice came out sharp, almost angry. The grove clicked back at her. Not one sound. A dozen. Scattered through the trees. Some close, some far, some circling her from all sides in a loose, mocking rhythm. Click. Click-click. Click. Aurora spun with the torch. The light snagged on a flash of movement low to the ground, white and quick, then on a handprint in the mud. Five fingers. Fresh. No track leading to it. Just the hand, spread wide as if someone had planted themselves there and listened. Her stomach tightened. She swept the light farther and found another print on a stone. Smaller. Smudged. Then another on the next stone, as though someone had climbed over the boundary stones on all fours. Her own breath sounded too loud. She forced her shoulders down, dragged air into her lungs, and took a careful step back. The pendant beat once against her skin. Then the warm pulse stopped. Aurora looked down. The crimson stone had gone dark. Her fingers closed around it. Cold now. Not the ordinary sort. A deep, draining cold that made her scar ache on her left wrist, the crescent mark whitening under her skin. She looked up at the seam in the air. It had widened while she watched, though she could not have said by how much. The edge wavered like heat over a road, but there was no road here, only grass and stone and whatever waited behind the dark. A whisper brushed her ear. Aurora whipped round so hard her phone almost flew from her hand. Nothing stood behind her. Nothing except the nearest oak stone and the wildflowers pressed thick around its base. The whisper came again, this time from inside the grove, not behind her. Rory. Her stomach dropped through her boots. No one called her that here. No one knew it here. She took a step towards the sound before her common sense caught up and bit her hard. The torch beam slid over the ground, over roots, over a fallen branch shaped too much like a bent finger. Her mouth worked once before any sound came out. “Who’s there?” The click answered from all around. Something moved on the edge of her vision, just at the boundary where the torch’s white cone gave way to darkness. A person, or the idea of one. Tall. Thin. Head tilted at the wrong angle. When she swung the light towards it, the shape unmade itself into two trees standing closer together than she had first thought. The air smelled of wet bark and crushed leaves, but beneath that sat another scent, sweet and rotten, like fruit left in a sealed drawer until it split. Aurora swallowed hard. “If this is some sort of welcome, I hate it.” No answer. The seam in the air gave a twitch. The phone light dimmed, flared, then steadied. Her screen showed no signal, no surprise there, only a cracked reflection of her own face, pale and sharp-eyed and too still. Behind that reflection, something stood at her shoulder. She dropped the phone. It struck the grass and lit the ground in a cone of white. Aurora jerked round, heart hammering against her ribs so hard it hurt. No one. The grove had gone quiet again, but not empty. She could feel it. A pressure in the space between the stones, a patient attention. The kind that made the back of her neck crawl and her skin bunch at the scalp. Her pendant went hot. Aurora snatched it up. The crimson stone blazed from within now, bright enough to paint her fingers red. The silver chain quivered as if pulled from the other end. She stared at it, then at the seam in the air. The split had opened wide enough to show depth. Not a place. Depth. Black layers folding over black, and in the middle of them a pale shape turning very slowly, as if something on the far side had noticed her and was considering whether to step through. The standing stones around her answered with a deep groan. Aurora backed away, one careful step, then another. The grass hissed under her boots. The flowers at the seam bowed low, their pale heads trembling like teeth. A hand emerged from the dark. It passed through the tear with no sound, long-fingered and grey, the nails too clean and too white. The wrist followed, then part of a sleeve the colour of old ash. The hand flexed once, testing the air. Aurora could not move. The hand turned. It pointed straight at her. Then the rest of the thing began to come through.
created_at"2026-03-18T10:37:20.814Z" 3/18/2026, 10:37:20 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5510
moderation_latency(null)
generation_time15769
tokens_prompt4560
tokens_completion2781
native_tokens_prompt4064
native_tokens_completion2716
native_tokens_completion_images0
native_tokens_reasoning516
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"
usage0.01527
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_03a669975862f76c0169ba8060e0648197ba41c12aecb3f898"
is_byokfalse
latency168
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-1773830240-MX5FEsIHfC2CxhwVHlSo"
upstream_id"resp_03a669975862f76c0169ba8060e0648197ba41c12aecb3f898"
total_cost0.01527
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences7
tagDensity0.286
leniency0.571
rawRatio0
effectiveRatio0
91.62% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1789
totalAiIsmAdverbs3
found
0
adverb"slowly"
count2
1
adverb"very"
count1
highlights
0"slowly"
1"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
49.69% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1789
totalAiIsms18
found
0
word"pulse"
count4
1
word"throb"
count1
2
word"etched"
count1
3
word"flicked"
count1
4
word"warmth"
count2
5
word"charm"
count1
6
word"silence"
count1
7
word"stomach"
count2
8
word"wavered"
count1
9
word"whisper"
count2
10
word"could feel"
count1
11
word"quivered"
count1
highlights
0"pulse"
1"throb"
2"etched"
3"flicked"
4"warmth"
5"charm"
6"silence"
7"stomach"
8"wavered"
9"whisper"
10"could feel"
11"quivered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"let out a breath"
count1
1
label"stomach dropped/sank"
count1
highlights
0"let out a breath"
1"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences185
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences185
filterMatches
0"see"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences190
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1789
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1766
uniqueNames5
maxNameDensity0.85
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Carter1
Park1
Hel1
Aurora15
Click4
persons
0"Carter"
1"Aurora"
2"Click"
places
0"Park"
globalScore1
windowScore1
62.28% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences114
glossingSentenceCount4
matches
0"felt like a story someone had half-reme"
1"sounded like a child clicking a toy betwee"
2"looked like a tear in the air, narrow as"
3"as if listening"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1789
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences190
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs94
mean19.03
std20.94
cv1.1
sampleLengths
029
112
235
31
411
586
620
75
84
977
107
114
124
131
1448
157
1612
172
1862
193
2021
219
2252
233
2441
2510
2667
275
2821
293
3010
319
321
336
3464
355
366
3731
3857
393
4011
413
4260
437
446
4519
4650
471
487
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences185
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs270
matches
0"was considering"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences190
ratio0
matches(empty)
95.47% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1771
adjectiveStacks0
stackExamples(empty)
adverbCount80
adverbRatio0.04517221908526256
lyAdverbCount4
lyAdverbRatio0.002258610954263128
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences190
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences190
mean9.42
std8.17
cv0.867
sampleLengths
029
112
222
34
49
51
611
710
823
916
1037
117
1213
135
144
1511
1610
173
1840
194
201
218
227
232
242
254
261
2748
287
2912
302
3110
321
331
3412
3523
362
3713
383
3921
408
411
428
4311
4410
457
4616
473
4813
496
42.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.2631578947368421
totalSentences190
uniqueOpeners50
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences155
matches
0"Then, in the corner of"
1"Too close to human."
2"Then, from somewhere behind her,"
3"Then the shape moved again,"
4"Just the hand, spread wide"
5"Then another on the next"
6"Then the warm pulse stopped."
7"Then the rest of the"
ratio0.052
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences155
matches
0"She caught herself against an"
1"Her own voice sounded thin"
2"She lowered her hand and"
3"She stepped through the ring."
4"Her skin prickled."
5"She looked down at it,"
6"She turned in place."
7"Her phone light shook in"
8"It came again, a dry"
9"She let the light crawl"
10"She swung round."
11"She pulled it from under"
12"She passed the first one"
13"She drew a breath and"
14"It sounded like a child"
15"Her spine went tight."
16"She backed towards the centre."
17"She lowered it and saw"
18"It looked like a tear"
19"she said, and hated how"
ratio0.284
50.32% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount127
totalSentences155
matches
0"Aurora Carter dug her boot"
1"The pendant knocked once against"
2"She caught herself against an"
3"A cramped, urgent throb, like"
4"Her own voice sounded thin"
5"She lowered her hand and"
6"The standing stones rose from"
7"Wildflowers crowded their bases, pale"
8"A shallow bowl of light"
9"Richmond Park had fallen away"
10"Here, the city felt like"
11"She stepped through the ring."
12"The pendant warmed again."
13"Aurora stopped so fast her"
14"The stone at her chest"
15"Her skin prickled."
16"She looked down at it,"
17"A faint sound moved through"
18"She turned in place."
19"Her phone light shook in"
ratio0.819
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences155
matches(empty)
ratio0
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount6
matches
0"A shallow bowl of light sat in the middle of the grove, not from any lamp or lantern, just a faint wrongness that let her see the moss, the roots, the pale shee…"
1"She looked down at it, then up at the nearest monolith, then at the one beyond it, each one etched with scratches that resembled runes until she got close enoug…"
2"Her phone light shook in her grip, a white cone that skimmed over foxgloves and nettles, over a ring of mushrooms crusted silver at the edges, over a patch of g…"
3"The flowers nearby had gone still, their heads angled towards the gap as if listening."
4"The kind that made the back of her neck crawl and her skin bunch at the scalp."
5"Black layers folding over black, and in the middle of them a pale shape turning very slowly, as if something on the far side had noticed her and was considering…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
7.14% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences7
tagDensity0.286
leniency0.571
rawRatio0.5
effectiveRatio0.286
86.0656%