Run: 2026-06-24-01KVX2F3PPV1MNF79FY1KF1FS7

Run Details

Duration:
1m 5s
Cost:
$0.011247
Provider:
Z.AI

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 standing stones were wrong. Rory had counted them twice. Seven oaks, twisted into shapes no wind could carve, marking the boundary of Isolde's grove. She'd counted seven the first time she'd come through, three nights ago. Now there were eight. She tightened her fingers around the pendant at her throat. The crimson gem pulsed warm against her collarbone, steady as a second heartbeat. Not hot. Not yet. Whatever had drawn her back to Richmond Park at this hour wasn't a Hel portal, or at least not one the Heartstone could detect. The wildflowers should have been visible even in darkness. They bloomed year-round here, Isolde's little defiance of seasons, pale petals that caught moonlight like cups of silver. Rory swept her torch across the clearing's edge. The flowers were there, all right. They'd turned black. Not wilted. Not dead. Black, the way a bruise goes black, as though something had struck each petal individually. She stepped past the eighth stone and the air changed. Thicker. The scent of wet earth gave way to something sweeter, cloying, like fruit left to rot in a sealed room. Her stomach turned. Three nights ago, she'd come to the grove seeking answers about the pendant. Isolde had been absent, but the grove itself had welcomed her, humming with that peculiar Fae warmth that made her skin prickle. She'd found what she needed carved into the central stone, a spiral pattern that matched the pendant's setting, and left before time could slip away from her. An hour inside had cost her forty minutes in the park. Lucky, by Grove standards. Tonight the grove didn't hum. It listened. Rory crossed the clearing toward the central stone, her boots pressing into grass that yielded too much, as though the ground beneath had softened. She kept the torch low, scanning the treeline. The oaks stood motionless despite the breeze she'd felt on the hillside minutes before. Their branches curved inward, fingers interlocking above her like the vault of a cathedral built by things that had never seen a church. The central stone bore the spiral. Same as before. She traced it with her free hand while the pendant swung gently from her neck, its glow feeble, uncertain. The carving felt different under her fingertips. Rougher. The grooves were deeper than she remembered, and when she pulled her hand back, her fingertips came away dark. Not dirt. Not sap. She wiped them on her jacket and forced her breathing to stay level. The pendant pulsed once, warmer, and she felt it push against her skin the way a cat presses into your hand when it wants attention. "I know," she murmured. "Something's here." The words hung in the air longer than they should have. Sound didn't travel right in this place. It pooled, collected, refused to dissipate. Her voice came back to her in fragments, syllables rearranged, and she caught the shape of her own voice whispering something she hadn't said. She switched off the torch. Darkness crashed in, total and physical, and for three heartbeats she couldn't see her own hands. Then the pendant's glow spread, casting a small crimson radius around her chest. Enough to see the stone. Enough to see the ground. Enough to see that the grass behind her had flattened in a path, as though something heavy had dragged itself from the treeline to within six feet of where she stood. The path ended there. Whatever had made it hadn't continued forward. It had stopped. Waited. And then, by the look of the matted grass, settled. Rory didn't turn around. Turning around implied she expected to see something, and the part of her brain that had kept her alive through Evan's worst nights, through the flight to London, through the slow rebuild of a life from splinters, that part told her with absolute certainty that seeing was the wrong move. The pendant flared. Hot, now. Hot enough that she felt it through her shirt, and she clutched it without thinking, hissing between her teeth. The glow threw her shadow long and jagged across the central stone. And her shadow had company. It stretched behind her on the grass, sharp-edged and familiar, her own shape rendered in ink. But beside it, overlapping it, another shadow lay. Taller. Narrower at the shoulders. Its head, if it had a head, tilted at an angle that vertebrae didn't permit. Rory's hand found the crescent scar on her left wrist. Old habit. She pressed her thumb into it, grounding herself the way her therapist had told her not to, and the small pain cleared the fog of fear enough to think. She'd come here because the pendant had been pulling her. Three nights of interrupted sleep, of waking at 3 a.m. with the gemstone burning against her chest and the image of the grove fixed behind her eyelids like a brand. She'd thought it was Isolde calling her back. A message, perhaps. An answer to the questions the spiral carving had raised. But Isolde's grove didn't feel like this. Isolde's grove felt like walking into a warm bath after a cold day. This felt like standing in someone's mouth. The second shadow shifted. Just the head. Just a few degrees. Tracking her. Rory took one step sideways, away from the central stone, watching the shadows. Her own moved with her. The other one didn't follow. It stayed where it was, cast by nothing she could see, pinned to the grass like a stain. Then it lifted one arm. Slowly. The shadow-arm rose, jointless, fluid, and pointed toward the treeline on her left. Rory followed the gesture with her eyes, keeping her chin level, refusing to give the thing behind her the satisfaction of a turned head. Between two of the ancient oaks, where the standing stones should have marked the boundary, a gap had opened. Not a physical gap. A subtraction. The trees were there, the stones were there, but the space between them had been hollowed out into a perfect rectangle of absolute black. No depth. No dimension. Just absence, rectangular and patient, waiting the way a doorway waits. The pendant burned. Rory yanked her hand away from it and the chain bit into the back of her neck. The crimson glow doubled, tripled, and the shadows on the ground recoiled, slithering backward like burned things. All except the second shadow. It held its position, arm still raised, still pointing at the rectangle of nothing. Then it spoke. Not with sound. The grove's air carried it the wrong way, pooling around her ankles, rising through her boots, vibrating in the bones of her legs. A single word, or the impression of a word, shapeless and ancient, older than the oaks, older than the stones, older than whatever Isolde was. It said her name. Not Rory. Not Aurora. Not Carter. Malphora. The word hit her like a fist below the sternum. Her knees buckled. She caught herself on the central stone, fingers digging into the spiral carving, and the grooves under her palms were deeper now, wet, pulsing with a rhythm that matched the pendant's glow. The rectangle of absence between the oaks widened by a hand's breadth. Then another. The wildflowers along the clearing's edge, the ones that had turned black, began to peel themselves from their stems. Not falling. Climbing. Ascending in slow circles, black petals spinning, caught in a wind that touched nothing else. Rory pushed herself upright. Her legs shook. The pendant had cooled against her chest, but its glow remained, painting everything in shades of wine and warning. The second shadow was gone. She swept her eyes across the grass, the treeline, the standing stones. Eight of them, still. The rectangle of absence between the oaks pulsed gently, a membrane rather than a hole, and through it, impossibly, she could hear water. Not the Thames. Not rain. A current moving through somewhere vast and lightless, carrying things that clicked and tapped against unseen banks. The pendant pulled. Not warm this time. Cold. A sharp tug toward the rectangle, the chain going taut against her neck as though someone had taken the end and walked toward the gap. Rory grabbed the chain above the gem and held fast. The metal links slid through her fingers, burning cold, pulling with a strength that belonged to something far larger than a thumbnail-sized stone. Her boots skidded on the softened ground. She dug in, leaned back, and the chain cut a red line across her palm. The water-sounds grew louder. The black petals rose higher, spinning in their impossible spiral, and from somewhere beyond the rectangle, from that lightless water, something surfaced. She couldn't see it. She didn't need to. The air pressure changed the way it changes when a large animal breaks the surface of a lake, and she heard breathing, vast and wet and patient, coming through the gap between the oaks. The pendant went slack. The chain drooped against her chest. The glow snuffed out. The rectangle between the oaks held for one second, two, three, and then collapsed inward, the edges rushing together with a sound like tearing silk, leaving only bark and stone and the ordinary darkness of a London park at night. Rory released the chain. Her palm bled freely, the cut clean and deliberate. She pressed it against her jacket and counted her breaths until her heart stopped trying to claw its way through her ribs. The eighth standing stone was gone. Seven oaks, twisted and ancient, marking the boundary of Isolde's grove. Seven, as there had always been. The wildflowers stood along the clearing's edge, pale and luminous, petals catching the moonlight like cups of silver. The central stone's spiral carving was dry. Her fingertips, when she raised them to her torch, were clean. The pendant hung dark and still against her sternum. But when she pressed her thumb to the crimson surface, she felt it. Faint. Barely there. A pulse, slow and deep and satisfied, like a heart that had just finished something it had waited a very long time to do. Her phone buzzed in her pocket. She pulled it out with her uninjured hand. One notification. A text from an unknown number, received at 3:17 a.m., though she'd only been in the grove for what felt like twenty minutes. Three words. She found you.
created_at"2026-06-24T15:02:37.046Z" 6/24/2026, 3:02:37 PM
model"z-ai/glm-5.2-20260616"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3293
moderation_latency(null)
generation_time64681
tokens_prompt4560
tokens_completion2711
native_tokens_prompt4134
native_tokens_completion2302
native_tokens_completion_images(null)
native_tokens_reasoning86
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"
service_tier(null)
usage0.01124696
router(null)
provider_responses
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endpoint_id"442ea97f-ad5e-40d5-b9a6-66e9e0417dce"
id"202606242302376cb51b9a6a384031"
is_byokfalse
latency3293
model_permaslug"z-ai/glm-5.2-20260616"
provider_name"Z.AI"
status200
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api_type"completions"
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upstream_id"202606242302376cb51b9a6a384031"
total_cost0.01124696
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provider_name"Z.AI"
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data_region"global"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences2
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
88.43% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1728
totalAiIsmAdverbs4
found
0
adverb"gently"
count2
1
adverb"slowly"
count1
2
adverb"very"
count1
highlights
0"gently"
1"slowly"
2"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)
68.17% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1728
totalAiIsms11
found
0
word"pulsed"
count3
1
word"stomach"
count1
2
word"warmth"
count1
3
word"scanning"
count1
4
word"traced"
count1
5
word"familiar"
count1
6
word"perfect"
count1
7
word"silk"
count1
8
word"pulse"
count1
highlights
0"pulsed"
1"stomach"
2"warmth"
3"scanning"
4"traced"
5"familiar"
6"perfect"
7"silk"
8"pulse"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences172
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences172
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences173
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1728
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1724
uniqueNames16
maxNameDensity0.7
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Isolde"
discoveredNames
Isolde8
Richmond1
Park1
Hel1
Heartstone1
Fae1
Grove1
Evan1
London2
Rory12
Aurora1
Carter1
Thames1
Seven3
Three3
Enough3
persons
0"Isolde"
1"Heartstone"
2"Grove"
3"Evan"
4"Rory"
5"Carter"
places
0"Richmond"
1"Park"
2"London"
3"Thames"
4"Three"
globalScore1
windowScore1
71.05% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences95
glossingSentenceCount3
matches
0"felt like walking into a warm bath afte"
1"felt like standing in someone's mouth"
2"felt like twenty minutes"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1728
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences173
matches
0"see that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean33.23
std22.6
cv0.68
sampleLengths
05
136
251
344
419
534
677
77
869
955
104
1138
126
1348
1475
1525
1654
1736
185
1944
2041
2161
2227
2313
2441
255
2638
2764
2856
293
3051
314
326
331
3459
3537
3626
375
3861
3933
4055
4168
424
4350
4435
456
4635
4718
4849
4939
99.14% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences172
matches
0"been hollowed"
1"was gone"
2"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs268
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences173
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1729
adjectiveStacks0
stackExamples(empty)
adverbCount50
adverbRatio0.02891844997108155
lyAdverbCount9
lyAdverbRatio0.005205320994794679
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences173
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences173
mean9.99
std8.75
cv0.876
sampleLengths
05
15
215
312
44
510
613
72
82
924
109
1118
128
136
143
152
162
1715
1810
191
2020
213
2213
2322
2427
2511
264
275
282
2924
308
3114
3223
336
343
3519
367
371
3819
392
402
4113
4225
434
442
4511
467
476
4824
495
37.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.30057803468208094
totalSentences173
uniqueOpeners52
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences140
matches
0"Then the pendant's glow spread,"
1"Just the head."
2"Just a few degrees."
3"Then it lifted one arm."
4"Just absence, rectangular and patient,"
5"Then it spoke."
ratio0.043
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences140
matches
0"She'd counted seven the first"
1"She tightened her fingers around"
2"They bloomed year-round here, Isolde's"
3"They'd turned black."
4"She stepped past the eighth"
5"Her stomach turned."
6"She'd found what she needed"
7"She kept the torch low,"
8"Their branches curved inward, fingers"
9"She traced it with her"
10"She wiped them on her"
11"It pooled, collected, refused to"
12"Her voice came back to"
13"She switched off the torch."
14"It had stopped."
15"It stretched behind her on"
16"Its head, if it had"
17"She pressed her thumb into"
18"She'd come here because the"
19"She'd thought it was Isolde"
ratio0.271
85.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount105
totalSentences140
matches
0"The standing stones were wrong."
1"Rory had counted them twice."
2"She'd counted seven the first"
3"She tightened her fingers around"
4"The crimson gem pulsed warm"
5"Whatever had drawn her back"
6"The wildflowers should have been"
7"They bloomed year-round here, Isolde's"
8"Rory swept her torch across"
9"The flowers were there, all"
10"They'd turned black."
11"She stepped past the eighth"
12"The scent of wet earth"
13"Her stomach turned."
14"Isolde had been absent, but"
15"She'd found what she needed"
16"An hour inside had cost"
17"Tonight the grove didn't hum."
18"Rory crossed the clearing toward"
19"She kept the torch low,"
ratio0.75
35.71% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences140
matches
0"Now there were eight."
ratio0.007
15.66% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences73
technicalSentenceCount13
matches
0"They bloomed year-round here, Isolde's little defiance of seasons, pale petals that caught moonlight like cups of silver."
1"Isolde had been absent, but the grove itself had welcomed her, humming with that peculiar Fae warmth that made her skin prickle."
2"Their branches curved inward, fingers interlocking above her like the vault of a cathedral built by things that had never seen a church."
3"Enough to see that the grass behind her had flattened in a path, as though something heavy had dragged itself from the treeline to within six feet of where she …"
4"Turning around implied she expected to see something, and the part of her brain that had kept her alive through Evan's worst nights, through the flight to Londo…"
5"Rory followed the gesture with her eyes, keeping her chin level, refusing to give the thing behind her the satisfaction of a turned head."
6"The grove's air carried it the wrong way, pooling around her ankles, rising through her boots, vibrating in the bones of her legs."
7"She caught herself on the central stone, fingers digging into the spiral carving, and the grooves under her palms were deeper now, wet, pulsing with a rhythm th…"
8"The wildflowers along the clearing's edge, the ones that had turned black, began to peel themselves from their stems."
9"A current moving through somewhere vast and lightless, carrying things that clicked and tapped against unseen banks."
10"A sharp tug toward the rectangle, the chain going taut against her neck as though someone had taken the end and walked toward the gap."
11"The metal links slid through her fingers, burning cold, pulling with a strength that belonged to something far larger than a thumbnail-sized stone."
12"A pulse, slow and deep and satisfied, like a heart that had just finished something it had waited a very long time to do."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences2
tagDensity0.5
leniency1
rawRatio1
effectiveRatio1
86.7040%