Run: 2026-03-18-01KM0A9B28MQFPASVSP23K53PY

Run Details

Duration:
20.1s
Cost:
$0.016548
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 jammed her shoulder against the last iron latch and slipped through before it caught on her coat. The gate shut behind her with a soft, final clack that carried too far across the dark. She stopped with one hand on the chain at her throat, the Heartstone Pendant hot against her palm, and stared into the clearing. The trees stood in a rough ring beyond the path, black trunks stitched with pale lichen. Ancient oak standing stones rose among them, broad as doorways, their surfaces furred with moss and old carvings that the darkness blurred into scars. Wildflowers crowded the ground in defiant patches, white and violet and yellow, too lush for a place hidden inside a city park. Nothing should have flourished like that in such a sealed pocket of earth. The pendant gave a small, mean pulse. Rory sucked in a breath and pressed it flat to her skin. The silver chain bit cold into her neck. She had followed the warmth from the flat above Silas’s bar, out through streets that had gone quiet around her, over a wall near Richmond Park and down a run of paths that seemed to bend whenever she looked away. The note had sat in her coat pocket the whole way, folded once, no name, just three words in a hand that angled upwards like a hooked claw. If it warms, go. She had come because she had run out of better ideas. A branch cracked somewhere behind the standing stones. Rory turned in one smooth motion and found nothing but trees and flowers and the black seam of the path she had left. Her fingers slid into the pocket of her jacket and closed around the small torch she carried for late deliveries. Her thumb clicked it on. A narrow beam cut the clearing apart. Moths, pale as scraps of torn paper, swarmed through the light. They crossed the beam in frantic loops, then vanished when she swept it aside. The nearest stone wore a wreath of ivy at its base. The leaves trembled. She moved one step, then another, and the flowers under her boots bent without sound. The whole place held itself too still, as if it waited with its mouth shut. A low tapping came from the far side of the grove. Tap. Tap-tap. Not loud. Not close. A patient sound, like knuckles on wood. Rory raised the torch and walked towards it. The beam glanced over trunks, over roots thick as wrists, over a fallen branch that looked, for one awful second, like a leg bent backwards at the knee. She stopped so fast her boot skidded in the grass. It had only been a branch. She adjusted her grip on the torch and kept going. The tapping came again, now from her left. Tap. She swung the light there. A hare sat in the undergrowth, washed pale by the torch beam, its eyes fixed on her with a flat, glassy stare. Its ears stood upright. One of them twitched, then flattened. It did not bolt. It only watched, as if it had already measured her and found her lacking. Rory’s skin prickled. “Off you go.” The hare stayed still. She clicked her tongue. It blinked once, slow and human, then vanished into the dark with a flick of white tail and a rustle through leaves. Rory went on. The grove narrowed around her. Trees crowded closer than they had from the gate, their trunks thicker, their bark ridged with lines that looked too deliberate to be natural. She could hear her own breathing, the brush of her coat, the soft churn of mud under her boots. And underneath that, another sound, faint but steady. A second set of steps. Her mouth went dry. She stopped. The steps stopped too. She turned slowly in place, torch held high, and found only the rough circle of stones and the black undergrowth between them. “Not subtle.” The words dropped into the clearing and came back thin. Nothing answered. Rory kept the torch on the ground ahead of her and walked towards the nearest stone. Its surface caught the light and gleamed with damp. A line of old runes or cuts ran down one side, worn almost smooth. The pendant grew warmer with every step. By the time she reached the stone, heat had gathered beneath the silver chain like a fever. She laid her free hand against the rock. Cold shot up her palm. Not the cold of night or shade, but something deeper, the shock of water drawn from a grave. She jerked back at once and looked down at her wrist. The small crescent scar there had gone white. A whisper slid across the clearing. Rory lifted her head. The sound came again, from behind the stone. Not words. Breath, close to her ear, then gone. She stepped sideways, keeping the torch up, and peered round the edge. Nothing. Just the ring of flowers and the line of trunks beyond. Her own shadow quivered against the stone, stretched long and thin by the torchlight. For one heartbeat, it did not match her movement. It lifted its head a fraction later than she did. Rory’s spine locked. She snapped the torch away from the stone. The shadow snapped back into place. She took one slow breath. “No.” The clearing held its silence. Her voice sounded wrong here, too solid, too blunt, as if she had thrown a brick into a deep well. The pendant thudded against her chest, once, twice. Warmth spread out from it in a pulse that made her teeth ache. She pulled it free of her coat and held it in her palm. The gemstone burned red in the torchlight. A faint glow lived inside it, dim at first, then brighter, as if something had stirred awake in the glassy dark beneath the stone. Rory stared at it, then at the nearest standing stone. A thin groove ran down the stone’s centre, hidden until the pendant flared again. The line did not look carved. It looked opened. The groove split the surface from top to bottom, narrow as a knife blade, and the edges shone slick in the torch beam. Her breath hitched. At the base of the stone, half buried in moss, something silver caught the light. She crouched and swept the moss aside with her fingers. A ring. No, not a ring. A key, old and bent, with teeth like tiny hooks. It lay inside a shallow hollow cut into the earth. The metal felt icy when she touched it, almost painful. Letters ran down its stem in a curling script she did not know. The whisper came again, sharper this time. Not from behind her. From inside the stone. Rory rose so fast she clipped her knee against the rock. Her heart kicked hard once, then harder. She held the torch and pendant together, light and heat shaking in her hands. Her gaze fixed on the crack in the stone as the line widened by the breadth of a fingernail, then another. A breath drifted out of it, rank with wet soil and something sweet gone rotten. A face pressed up on the other side. She stepped back, almost dropping the torch. The face had no clean edges. Pale skin, yes, or something like skin, but stretched too smooth, too narrow, with the features blurred as if seen through water. One eye opened first, black and wet and bright in the centre. It turned towards her. The mouth followed, splitting with a soft crack that made her stomach clench. Her torch trembled in her grip. The thing behind the stone smiled. Rory backed away until her shoulder hit another standing stone. Cold shock ran through her coat. The pendant flared hot enough to sting. She fumbled for the chain and yanked it out from under her collar, but the silver had gone stiff, tugging hard against her skin as though it hooked on something unseen. The face in the stone tilted. “Show yourself.” Her voice came out low and rough. The reply was a scrape, not words at first, a wet dragging noise from deep inside the crack. Then, with a sound like silk tearing, a voice slipped through. “Laila.” Rory went still. The clearing seemed to fold in on itself. The flowers bent towards the stones. The hare burst from the undergrowth and vanished between the trunks. The tapping came back, this time from every side at once, soft and quick and closing in. Tap-tap. Tap-tap-tap. Rory’s eyes flicked to the dark beyond the ring. Shapes moved there. Not animals. Too upright. Too patient. One pale outline passed behind a trunk, then another, their edges blurring whenever she aimed the torch at them. A line of light caught something slim and white, a hand perhaps, with fingers too long and still. The crack in the stone widened with a sound like bone giving way. Cold rushed out of it and blew over her face. The flowers nearest the base of the stone blackened where the frost touched them, petals curling inward at once. Rory stumbled back, boots sliding in wet grass, and the key in her hand grew so cold it hurt. From inside the stone, something pushed hard. The crack split open by another inch. A hand shot through. It was small and pale, the skin greyed by the dark, the fingers narrow and jointed wrong, bent with a tenderness that made them seem broken. The hand opened and closed once, testing the air. Then it seized the silver chain at Rory’s throat and yanked her forward with a jerk that stole her breath. The torch flew from her grip and vanished into the flowers. Rory clawed at the hand, at the stone, at the chain digging into her neck. The second hand came through the crack, groping blind for her face.
created_at"2026-03-18T11:11:25.281Z" 3/18/2026, 11:11:25 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency14608
moderation_latency(null)
generation_time19714
tokens_prompt4560
tokens_completion2704
native_tokens_prompt4064
native_tokens_completion3576
native_tokens_completion_images0
native_tokens_reasoning1552
native_tokens_cached3840
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"
usage0.016548
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0481f1b0351760250169ba885d5ba881979da654f20bc0ebea"
is_byokfalse
latency297
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-1773832285-Z31Pbay8lkoDYShdLQ9X"
upstream_id"resp_0481f1b0351760250169ba885d5ba881979da654f20bc0ebea"
total_cost0.016548
cache_discount0.002592
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
totalTags0
96.98% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1654
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
48.61% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1654
totalAiIsms17
found
0
word"pulse"
count2
1
word"warmth"
count2
2
word"trembled"
count2
3
word"measured"
count1
4
word"churn"
count1
5
word"grave"
count1
6
word"whisper"
count2
7
word"quivered"
count1
8
word"silence"
count1
9
word"stomach"
count1
10
word"silk"
count1
11
word"flicked"
count1
12
word"tenderness"
count1
highlights
0"pulse"
1"warmth"
2"trembled"
3"measured"
4"churn"
5"grave"
6"whisper"
7"quivered"
8"silence"
9"stomach"
10"silk"
11"flicked"
12"tenderness"
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
narrationSentences158
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences158
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences163
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1654
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions0
unquotedAttributions0
matches(empty)
98.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1645
uniqueNames8
maxNameDensity1.03
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Heartstone1
Pendant1
Silas1
Richmond1
Park1
Rory17
One3
Cold3
persons
0"Pendant"
1"Silas"
2"Rory"
3"Cold"
places
0"Richmond"
1"Park"
2"One"
globalScore0.983
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences115
glossingSentenceCount2
matches
0"paths that seemed to bend whenever she looked away"
1"something like skin, but stretched too smoot"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.605
wordCount1654
matches
0"Not the cold of night or shade, but something deeper, the shock of water drawn from a grave"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences163
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs88
mean18.8
std19.98
cv1.063
sampleLengths
018
140
275
37
488
54
611
78
848
97
1039
1130
1211
131
141
1511
1646
176
1810
198
201
215
2250
233
243
254
2626
273
2856
295
306
314
3222
332
3410
352
3663
378
3834
398
406
414
4217
4312
441
4544
463
4714
485
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences158
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs251
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences163
ratio0
matches(empty)
94.67% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1649
adjectiveStacks0
stackExamples(empty)
adverbCount76
adverbRatio0.04608853850818678
lyAdverbCount5
lyAdverbRatio0.0030321406913280777
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences163
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences163
mean10.15
std7.16
cv0.706
sampleLengths
018
117
223
316
424
522
613
77
812
98
1040
1128
124
1311
148
1523
1620
175
187
1911
2014
2111
223
2315
2415
2511
261
271
282
292
307
318
3228
3310
346
3510
368
371
385
3922
404
416
424
4314
443
453
464
474
4822
493
43.25% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.2147239263803681
totalSentences163
uniqueOpeners35
69.93% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences143
matches
0"Just the ring of flowers"
1"Then, with a sound like"
2"Then it seized the silver"
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences143
matches
0"She stopped with one hand"
1"She had followed the warmth"
2"She had come because she"
3"Her fingers slid into the"
4"Her thumb clicked it on."
5"They crossed the beam in"
6"She moved one step, then"
7"She stopped so fast her"
8"It had only been a"
9"She adjusted her grip on"
10"She swung the light there."
11"Its ears stood upright."
12"It did not bolt."
13"It only watched, as if"
14"She clicked her tongue."
15"It blinked once, slow and"
16"She could hear her own"
17"Her mouth went dry."
18"She turned slowly in place,"
19"Its surface caught the light"
ratio0.294
33.43% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount122
totalSentences143
matches
0"Rory jammed her shoulder against"
1"The gate shut behind her"
2"She stopped with one hand"
3"The trees stood in a"
4"Wildflowers crowded the ground in"
5"Nothing should have flourished like"
6"The pendant gave a small,"
7"Rory sucked in a breath"
8"The silver chain bit cold"
9"She had followed the warmth"
10"The note had sat in"
11"She had come because she"
12"A branch cracked somewhere behind"
13"Rory turned in one smooth"
14"Her fingers slid into the"
15"Her thumb clicked it on."
16"A narrow beam cut the"
17"Moths, pale as scraps of"
18"They crossed the beam in"
19"The nearest stone wore a"
ratio0.853
69.93% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences143
matches
0"If it warms, go."
1"By the time she reached"
ratio0.014
76.19% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences75
technicalSentenceCount7
matches
0"The beam glanced over trunks, over roots thick as wrists, over a fallen branch that looked, for one awful second, like a leg bent backwards at the knee."
1"Trees crowded closer than they had from the gate, their trunks thicker, their bark ridged with lines that looked too deliberate to be natural."
2"A faint glow lived inside it, dim at first, then brighter, as if something had stirred awake in the glassy dark beneath the stone."
3"Pale skin, yes, or something like skin, but stretched too smooth, too narrow, with the features blurred as if seen through water."
4"She fumbled for the chain and yanked it out from under her collar, but the silver had gone stiff, tugging hard against her skin as though it hooked on something…"
5"It was small and pale, the skin greyed by the dark, the fingers narrow and jointed wrong, bent with a tenderness that made them seem broken."
6"Then it seized the silver chain at Rory’s throat and yanked her forward with a jerk that stole her breath."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
91.0439%