Run: 2026-04-24-01KQ020P1GATTJ96YP05XVPBPC

Run Details

Duration:
25.4s
Cost:
$0.004332
Provider:
Xiaomi

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The Heartstone pendant burned against Aurora’s collarbone. Not with the gentle warmth it showed near a portal, but a feverish, insistent heat, as if a coal had been fused to its silver chain. She’d followed it here, to the ancient heart of Richmond Park, drawn by its silent screaming. Now, standing between the first of the oak standing stones, she wished she’d listened to the part of her brain screaming back. *Wrong.* The clearing, the Fae Grove, was silent. Not the peaceful hush of a woodland at night, but a thick, pressing silence that swallowed the distant hum of London. The wildflowers that should have bloomed year-round were closed, their heads bowed to the damp earth as if in mourning or supplication. The air smelled of ozone and crushed stems, a sharp, electric tang beneath the loam. Aurora’s torch beam swept the familiar space. The ring of stones, the clearing’s heart, the ancient oak at its centre whose roots were said to drink from a deeper well. Everything was as it should be, and yet nothing felt right. The proportions seemed off, the distances between stones subtly elongated in the gloom. She held up her hand, the torch light catching the crescent scar on her left wrist, a pale sliver against her skin. “Hello?” Her voice was absorbed immediately, swallowed by the velvet dark beyond the stones. No echo. No rustle of disturbed wildlife. The pendant pulsed again, a hot, angry throb against her sternum. She took a hesitant step forward. The grass beneath her boots felt spongy, wrong, like treading on flesh. Something skittered at the edge of her hearing, a dry, chitinous click-click-click that ceased the moment she spun towards it. Empty space between two stones. Nothing but deeper shadows. “Alright, Rory,” she whispered, the words a small, practical anchor. “You’re here because the pendant went mental in Silas’ cellar. You’re here because Yu-Fei’s delivery girl found that sketch in the old woman’s belongings. You’re here because you’re supposedly clever.” She swallowed. “Clever people don’t stand talking to themselves in cursed groves.” She advanced towards the central oak. The pendant’s heat was a living thing now, seeping through her shirt. As she reached the trunk, its gnarled bark seeming to writhe in her peripheral vision, a sound drifted from the far side of the clearing. Not a skitter this time, but a low, wet sound. A rhythmic *shuck-shuck-shuck*, like a heavy blade being drawn slowly through mud. Aurora killed the torch. Blackness, absolute and total, crashed over her. Then, her eyes began to adjust, picking up the faintest suggestion of starlight through the canopy. The silhouettes of the standing stones rose like teeth against the marginally lighter sky. And there, between the two farthest stones, was a shape. It wasn’t tall, but it was wide, a hunched bulk that seemed to be made of woven shadows and tangled roots. It knelt, its back to her, its shoulders heaving with that terrible, wet, dragging sound. It was digging. Her heart hammered against the branding iron of the pendant. *Don’t be seen. Don’t make a sound.* The rules of survival, simple and brutal. She flattened herself against the rough bark of the oak, its unnatural texture sticking to her palms. The thing at the edge of the grove paused. The digging stopped. The silence that rushed back in was somehow worse, heavier. Aurora held her breath until her lungs burned. The pendant flared, a white-hot spike of pain directly over her heart. She gasped, a tiny, involuntary intake of air. The hunched shape turned its head. Not a smooth motion, but a series of disjointed, cracking jerks, like a doll being manipulated by a clumsy hand. There was no face, just a smooth, dark oval where features should be, tilted inquisitively in her direction. Run. Every instinct screamed it. Her legs, however, were rooted in that spongy earth, locked in terror. The thing unfolded itself, rising to a height that was somehow worse than its crouched form—a towering, gangling arrangement of limbs that bent at unnatural angles. It took a step, its foot sinking into the ground with that same wet, sucking sound. Then it began to move towards her, not walking, but lurching, each stride a disjointed, staccato motion that ate up the distance with terrifying speed. Panic finally shattered the ice in her veins. Aurora scrambled around the opposite side of the oak, her boots slipping on the slick moss. She risked a glance back. The thing was rounding the tree, its smooth head swivelling to track her. In the starlight, she saw it wasn’t made of roots at all, but of something like petrified muscle, stretched taut over a skeletal frame, glistening with a dark, viscous fluid. She bolted for the gap between two stones, the designated ‘entrance’. The pendant was a shriek of heat now, a brand, a warning. *Not that way!* The knowledge slammed into her mind, absolute and certain. The entrance was a trap. She veered left, crashing through a thicket of the bowed, silent flowers. Thorned stems whipped at her face and arms. Behind her, the wet dragging sound accelerated, accompanied by a new noise—a low, grinding hum that vibrated in her teeth and made the very air feel thick and resistant. Aurora burst back into the clearing, now on the far side. The central oak stood between her and the lurching shape. She could hear it moving around the other side, that awful, broken rhythm. The standing stones seemed to shift in her vision, their positions subtly rearranging themselves into a more confining pattern. There was nowhere to go. She was in a cage of ancient stone and malevolent nature. She pressed her back against one of the outer stones, the rough granite cold through her jacket. The pendant pulsed erratically, its light flickering like a dying ember, casting wild, dancing shadows. The lurching shape came into view again, clearing the oak. It stopped, that blank, featureless face fixed on her. It raised one long, multi-jointed arm. From its tip, something dripped—not liquid, but a darkness that seemed to devour the meagre starlight. Aurora’s hand went to her pocket, closing around the cold metal of her delivery bike’s keychain. A pathetic weapon. The shape took another lurching step. Then another. The grinding hum intensified, making her vision blur at the edges. The wildflowers around her feet began to wilt in real-time, their heads drooping and blackening, crumbling to dust. The pendant gave one final, agonising pulse, and then went utterly cold against her skin. The lurching thing was ten feet away. Five. She could see the texture of it now, the way its surface writhed with tiny, worm-like movements. She could smell it, a stench of deep, stagnant water and rotting wood. It raised its dripping arm high. Aurora’s fingers tightened on the keychain, the sharp edges digging into her palm. The crescent scar on her wrist tingled violently. She stared into the blank oval of its face, and in the utter, consuming blackness of it, she saw her own terrified reflection, small and infinitely alone. The arm began to fall. And from the very heart of the ancient oak, from a hollow in its trunk she had never seen before, came a new sound. Not a whisper or a crack. A clear, cold, musical note, like crystal shattering on stone. The lurching shape froze, its arm halted mid-descent. The grinding hum cut off. Every shadow in the grove stilled. Aurora didn’t breathe. She didn’t move. She watched as the thing’s blank head slowly, slowly turned from her towards the source of the sound, that musical note still ringing in the unnaturally silent air. From the hollow in the oak, two points of pale, silver light ignited, like distant, unforgiving stars. The note held, piercing and pure, and the lurching thing began to tremble.
created_at"2026-04-24T15:33:58.465Z" 4/24/2026, 3:33:58 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency983
moderation_latency(null)
generation_time25258
tokens_prompt4560
tokens_completion2344
native_tokens_prompt4141
native_tokens_completion1993
native_tokens_completion_images(null)
native_tokens_reasoning241
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.00433168
router(null)
provider_responses
0
endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
id"4c2e6089685c4811b012be7d9d78854b"
is_byokfalse
latency893
model_permaslug"xiaomi/mimo-v2.5-20260422"
provider_name"Xiaomi"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.1; linux; x64))"
http_referer(null)
request_id"req-1777044838-veswg7MpNEnoqdIfdE7V"
session_id(null)
api_type"completions"
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upstream_id"4c2e6089685c4811b012be7d9d78854b"
total_cost0.00433168
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upstream_inference_cost0
provider_name"Xiaomi"
response_cache_source_id(null)

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences4
tagDensity0.75
leniency1
rawRatio0
effectiveRatio0
77.19% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1315
totalAiIsmAdverbs6
found
0
adverb"slowly"
count3
1
adverb"very"
count2
2
adverb"utterly"
count1
highlights
0"slowly"
1"very"
2"utterly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
1.14% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1315
totalAiIsms26
found
0
word"warmth"
count1
1
word"silence"
count2
2
word"electric"
count1
3
word"familiar"
count1
4
word"gloom"
count1
5
word"velvet"
count1
6
word"echo"
count1
7
word"pulsed"
count2
8
word"throb"
count1
9
word"rhythmic"
count1
10
word"lurching"
count7
11
word"shattered"
count1
12
word"glistening"
count1
13
word"vibrated"
count1
14
word"dancing"
count1
15
word"pulse"
count1
16
word"whisper"
count1
17
word"crystal"
count1
highlights
0"warmth"
1"silence"
2"electric"
3"familiar"
4"gloom"
5"velvet"
6"echo"
7"pulsed"
8"throb"
9"rhythmic"
10"lurching"
11"shattered"
12"glistening"
13"vibrated"
14"dancing"
15"pulse"
16"whisper"
17"crystal"
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
emotionTells1
narrationSentences108
matches
0"d in terror"
37.04% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount8
narrationSentences108
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords12
totalWords1312
ratio0.009
matches
0"Wrong."
1"shuck-shuck-shuck"
2"Don’t be seen. Don’t make a sound."
3"Not that way!"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions15
wordCount1268
uniqueNames7
maxNameDensity0.71
worstName"Aurora"
maxWindowNameDensity1
worstWindowName"Aurora"
discoveredNames
Heartstone1
Aurora9
Richmond1
Park1
Fae1
Grove1
London1
persons
0"Aurora"
places
0"Richmond"
1"Park"
2"Fae"
3"Grove"
4"London"
globalScore1
windowScore1
91.86% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences86
glossingSentenceCount2
matches
0"something like petrified muscle, stretched t"
1"darkness that seemed to devour the meagre starlight"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches6
per1kWords4.573
wordCount1312
matches
0"Not with the gentle warmth it showed near a portal, but a feverish, insistent heat, as if a coal had been fused to i"
1"Not the peaceful hush of a woodland at night, but a thick, pressing silence"
2"Not a skitter this time, but a low, wet sound"
3"Not a smooth motion, but a series of disjointed, cracking jerks, like a doll being ma"
4"not walking, but lurching, each stride a disjointed, staccato motion"
5"not liquid, but a darkness"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences109
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean38.59
std21.37
cv0.554
sampleLengths
071
11
265
376
421
549
69
752
865
94
1047
1139
1263
1328
1444
1559
1625
1772
1840
1949
2053
2148
2241
2356
2415
2538
266
2748
285
2940
3019
3134
3217
3313
82.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount7
totalSentences108
matches
0"been fused"
1"were closed"
2"were said"
3"was absorbed"
4"being drawn"
5"being manipulated"
6"were rooted"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs189
matches
0"was digging"
1"was rounding"
64.22% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences3
totalSentences109
ratio0.028
matches
0"The thing unfolded itself, rising to a height that was somehow worse than its crouched form—a towering, gangling arrangement of limbs that bent at unnatural angles."
1"Behind her, the wet dragging sound accelerated, accompanied by a new noise—a low, grinding hum that vibrated in her teeth and made the very air feel thick and resistant."
2"From its tip, something dripped—not liquid, but a darkness that seemed to devour the meagre starlight."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount762
adjectiveStacks0
stackExamples(empty)
adverbCount20
adverbRatio0.026246719160104987
lyAdverbCount7
lyAdverbRatio0.009186351706036745
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean12.04
std7.17
cv0.595
sampleLengths
07
126
216
322
41
57
621
722
815
97
1023
1111
1213
1322
1414
152
165
1711
186
1912
2020
215
224
2310
2432
2510
266
2712
2825
2910
3012
314
327
3316
3414
3510
3621
3715
383
3910
403
4111
4217
439
443
4510
468
4712
488
496
35.32% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.29357798165137616
totalSentences109
uniqueOpeners32
65.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences102
matches
0"Then, her eyes began to"
1"Then it began to move"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences102
matches
0"She’d followed it here, to"
1"She held up her hand,"
2"Her voice was absorbed immediately,"
3"She took a hesitant step"
4"she whispered, the words a"
5"She advanced towards the central"
6"It wasn’t tall, but it"
7"It knelt, its back to"
8"It was digging."
9"Her heart hammered against the"
10"She flattened herself against the"
11"She gasped, a tiny, involuntary"
12"Her legs, however, were rooted"
13"It took a step, its"
14"She risked a glance back."
15"She bolted for the gap"
16"She veered left, crashing through"
17"She could hear it moving"
18"She was in a cage"
19"She pressed her back against"
ratio0.275
77.65% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount78
totalSentences102
matches
0"The Heartstone pendant burned against"
1"She’d followed it here, to"
2"The clearing, the Fae Grove,"
3"The wildflowers that should have"
4"The air smelled of ozone"
5"Aurora’s torch beam swept the"
6"The ring of stones, the"
7"Everything was as it should"
8"The proportions seemed off, the"
9"She held up her hand,"
10"Her voice was absorbed immediately,"
11"The pendant pulsed again, a"
12"She took a hesitant step"
13"The grass beneath her boots"
14"Something skittered at the edge"
15"Nothing but deeper shadows."
16"she whispered, the words a"
17"She advanced towards the central"
18"The pendant’s heat was a"
19"A rhythmic *shuck-shuck-shuck*, like a"
ratio0.765
49.02% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences102
matches
0"Now, standing between the first"
ratio0.01
50.69% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount8
matches
0"Not with the gentle warmth it showed near a portal, but a feverish, insistent heat, as if a coal had been fused to its silver chain."
1"Not the peaceful hush of a woodland at night, but a thick, pressing silence that swallowed the distant hum of London."
2"The wildflowers that should have bloomed year-round were closed, their heads bowed to the damp earth as if in mourning or supplication."
3"Something skittered at the edge of her hearing, a dry, chitinous click-click-click that ceased the moment she spun towards it."
4"The thing unfolded itself, rising to a height that was somehow worse than its crouched form—a towering, gangling arrangement of limbs that bent at unnatural ang…"
5"Behind her, the wet dragging sound accelerated, accompanied by a new noise—a low, grinding hum that vibrated in her teeth and made the very air feel thick and r…"
6"The pendant pulsed erratically, its light flickering like a dying ember, casting wild, dancing shadows."
7"The wildflowers around her feet began to wilt in real-time, their heads drooping and blackening, crumbling to dust."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences4
tagDensity0.25
leniency0.5
rawRatio1
effectiveRatio0.5
77.7335%