Run: 2026-06-24-01KVX2PAX9WGYFA90PG6HGY026

Run Details

Duration:
51.3s
Cost:
$0.009373
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 hummed against her palms. Rory pressed both hands flat against the ancient oak, feeling the vibration travel up through her wrists, her forearms, settle somewhere behind her sternum like a second heartbeat. The Heartstone Pendant against her collarbone pulsed in answer, its faint crimson glow seeping through the fabric of her hoodie. She'd followed the warmth here. Three nights of it growing stronger, pulling her south-west through London like a fish on a line, until she'd found herself pedalling her delivery bike through Richmond Park at half past midnight, the standing stones lit silver by a moon she couldn't see through the cloud cover. The stones formed a rough circle, seven of them, each carved from heartwood so old it had petrified into something between timber and bone. She'd read about them once, in one of Silas' forbidden books behind the bar. Oak-gate, the old text called them. Doorways that opened one way. The hum deepened. The pendant flared. Rory stepped through. The grove swallowed her. One moment, Richmond Park, the distant growl of the A3, a helicopter chopping somewhere over Putney. The next, silence so complete her ears rang with the absence of it. She stood in a clearing ringed by trees that weren't quite trees, their bark pale as parchment, their branches tangled overhead in patterns that looked deliberate. Mathematical. Wildflowers carpeted the ground in colours that had no business existing side by side, violet bleeding into amber bleeding into a shade of blue she'd never seen before and couldn't name. The air tasted thick. Sweet, like overripe fruit, and underneath that, something metallic. Copper on the tongue. "Right then," she muttered. "This was a terrible idea." She didn't turn around. The stones behind her had gone quiet. Whether the doorway still existed at her back, she couldn't tell without looking, and every instinct she possessed screamed at her not to look. The pendant had stopped pulsing. It hung warm and still against her chest, its glow reduced to a faint ember. Job done. It had brought her here. Whatever here was. Rory took stock. Rucksack with her phone, a torch, the can of pepper spray Eva had insisted she carry, a bottle of water, two protein bars. Phone first. She pulled it out, thumbed the screen. No signal. Of course. The time read 00:47. She pocketed it and clicked on the torch. The beam cut through the grove in a white slash, catching the wildflowers, the pale trees, and something at the far end of the clearing that made her breath catch. A well. Old, moss-capped, its stones dark with moisture. A wooden frame rose above it, a bucket on a frayed rope dangling over the lip. She swept the beam left, right. Nothing else. Just the well, the flowers, the wrong-coloured trees, and the silence. Then the singing started. Not from any direction. From everywhere. A woman's voice, high and sweet, singing something in a language Rory didn't recognise but understood somehow, the way you understand a dream while you're inside it. The words meant arrival and belonging and we've been waiting. The torch beam shook in her grip. She tightened her fingers around it. "Hello?" The singing stopped. Cut clean, like a record lifted from a turntable. The wildflowers at her feet began to close, one by one, petals folding inward as though retreating. The motion spread outward from where she stood in a ripple, the entire carpet of colour sealing itself shut until the ground around her was nothing but dark stems and darker soil. Rory's pulse hammered in her throat. She backed toward where the stones should have been, and her heel caught on something. She stumbled, caught herself, swung the torch down. A root. Thick, pale, and moving. Slowly, almost imperceptibly, it was curling around the toe of her trainer. She yanked her foot free. The root didn't follow, but it didn't retract either. It stayed where it was, raised slightly, like a finger pointing. Toward the well. "No." She said it out loud, to the grove, to whatever listened. "Whatever you want, no. I'm leaving." She turned. The stones were there. Seven of them, solid and dark, exactly where she'd entered. She lunged for the gap between the two nearest and slammed into something that felt like compressed air, like pushing through water that wasn't wet. It threw her backward. She landed hard on the closed flowers, felt stems snap beneath her, and the pendant flared hot against her skin, hot enough to make her gasp. The torch had rolled from her grip. Its beam lay on the ground, pointing at the well, illuminating the bucket that was now swinging. Gently. As though someone had just set it in motion. Rory's hands found the soil. She pushed herself up, wiped her palms on her jeans, and retrieved the torch. The beam was weaker now, the light yellowing as the batteries drained faster than they should. The singing returned. Closer this time, or maybe just louder, and Rory could make out harmonics beneath the melody, other voices layered beneath the lead, dozens of them, threading through each other in patterns too complex for human throats. The pale trees shifted. Not in the wind, there was no wind. They moved the way a person shifts their weight from one foot to another, a settling, an adjusting. Their branches rearranged overhead, and the gaps between them revealed not sky, not clouds, but a darkness so deep it seemed to have texture, folds, depth. Something watched from inside that darkness. She felt its attention the way you feel a spotlight, a physical weight of focus pressing against her skin. It didn't blink. It didn't need to. The wildflowers at the far end of the grove began to open again. All of them, simultaneously, and they weren't the colours they'd been before. They were red now, every petal, every bloom, a deep arterial red that caught the torchlight and glistened wet. The copper taste in the air thickened. Rory's eyes watered. From the well, a sound rose. Not singing. Not wind. A breathing, vast and slow, the rhythm of something enormous drawing air through a throat the width of the well's mouth. Each inhale pulled the wildflowers flat. Each exhale straightened them again. The pendant burned. Rory looked down. The Heartstone had changed, its crimson deepened to black, and the silver chain around her neck was tightening, link by link, constricting with mechanical patience. She clawed at it. Her fingers found no clasp, no give, just the links drawing closer, pressing into the soft tissue of her throat. The breathing from the well quickened. At the edge of the torch's dying beam, something pale emerged from behind the well's stones. A hand. Female, slender, the fingers too long by one joint each, the nails dark and pointed. It gripped the well's rim, and a second hand appeared beside it, and then a face rose above the edge. Beautiful. Inhumanly so. Eyes like polished obsidian, no whites, no iris, just black mirrors that reflected Rory's face back at her, twisted with terror. The mouth smiled, and the teeth behind it were filed to points, each one a tiny white triangle. "Malphora," it said, in a voice like the singing, like the breathing, like the grove itself speaking through a throat made of wood and flower and dark water. "You came. We waited so long." The chain tightened another link. Black spots swam at the edges of Rory's vision. The creature pulled itself higher over the well's rim, shoulders emerging, and behind it, more hands, more faces, more smiles, climbing over each other in a tangle of pale limbs and dark nails. The torch died. In the blackness, the only light came from the pendant, and it was fading, fading, as the first creature reached the top of the well and began to crawl toward her on all fours, its too-long fingers sinking into the red flowers, its pointed teeth still bared in that terrible smile.
created_at"2026-06-24T15:06:33.8Z" 6/24/2026, 3:06:33 PM
model"z-ai/glm-5.2-20260616"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3841
moderation_latency(null)
generation_time50620
tokens_prompt4560
tokens_completion2222
native_tokens_prompt4134
native_tokens_completion1876
native_tokens_completion_images(null)
native_tokens_reasoning140
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)
usage0.00937256
router(null)
provider_responses
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endpoint_id"442ea97f-ad5e-40d5-b9a6-66e9e0417dce"
id"20260624230634756cd6921f304388"
is_byokfalse
latency3841
model_permaslug"z-ai/glm-5.2-20260616"
provider_name"Z.AI"
status200
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request_id"req-1782313593-9N9C9sSgSFjsYhw2o5jI"
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api_type"completions"
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total_cost0.00937256
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provider_name"Z.AI"
response_cache_source_id(null)
data_region"global"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences7
tagDensity0.571
leniency1
rawRatio0
effectiveRatio0
88.81% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1341
totalAiIsmAdverbs3
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
2
adverb"gently"
count1
highlights
0"slowly"
1"slightly"
2"gently"
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)
62.71% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1341
totalAiIsms10
found
0
word"pulsed"
count1
1
word"warmth"
count1
2
word"silence"
count2
3
word"pulse"
count1
4
word"complex"
count1
5
word"weight"
count2
6
word"mechanical"
count1
7
word"quickened"
count1
highlights
0"pulsed"
1"warmth"
2"silence"
3"pulse"
4"complex"
5"weight"
6"mechanical"
7"quickened"
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
narrationSentences121
matches
0"d with terror"
83.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences121
filterMatches
0"feel"
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)
analyzedSentences125
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen52
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1341
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1313
uniqueNames9
maxNameDensity0.84
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Heartstone2
Pendant1
London1
Richmond2
Park2
Oak-gate1
Putney1
Eva1
Rory11
persons
0"Heartstone"
1"Pendant"
2"Eva"
3"Rory"
places
0"London"
1"Richmond"
2"Park"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount5
matches
0"something between timber and bone"
1"quite trees, their bark pale as parchment, their branches tangled overhead in patterns that looked deliberate"
2"as though retreating"
3"felt like compressed air, like pushing"
4"appeared beside it, and then a face rose above the edge"
50.86% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.491
wordCount1341
matches
0"not sky, not clouds, but a darkness so deep it seemed to have texture, folds, depth"
1"not clouds, but a darkness so deep it seemed to have texture, folds, depth"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences125
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean26.29
std18.62
cv0.708
sampleLengths
07
148
252
349
46
53
64
787
817
99
1035
1130
1235
134
1442
1525
1619
174
1843
1913
201
2112
2249
2321
248
2518
2625
273
2818
2941
3030
3124
3210
3335
3439
3556
3632
3744
3810
3942
403
4128
4224
436
4453
4542
4634
4714
4833
493
99.46% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences121
matches
0"was, raised"
1"were filed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs206
matches
0"was curling"
1"was tightening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences125
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount151
adjectiveStacks0
stackExamples(empty)
adverbCount5
adverbRatio0.033112582781456956
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences125
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences125
mean10.73
std9.88
cv0.921
sampleLengths
07
128
220
35
447
524
614
76
85
93
103
113
124
1316
1413
1526
161
1731
184
199
204
214
225
234
247
2524
265
2715
282
295
303
313
3223
332
347
352
362
374
388
3930
402
417
4216
436
442
4511
464
474
482
4927
63.47% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.424
totalSentences125
uniqueOpeners53
96.15% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences104
matches
0"Just the well, the flowers,"
1"Then the singing started."
2"Slowly, almost imperceptibly, it was"
ratio0.029
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences104
matches
0"She'd followed the warmth here."
1"She'd read about them once,"
2"She stood in a clearing"
3"She didn't turn around."
4"It hung warm and still"
5"It had brought her here."
6"She pulled it out, thumbed"
7"She pocketed it and clicked"
8"She swept the beam left,"
9"She tightened her fingers around"
10"She backed toward where the"
11"She stumbled, caught herself, swung"
12"She yanked her foot free."
13"It stayed where it was,"
14"She said it out loud,"
15"She lunged for the gap"
16"It threw her backward."
17"She landed hard on the"
18"Its beam lay on the"
19"She pushed herself up, wiped"
ratio0.288
65.77% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount82
totalSentences104
matches
0"The standing stones hummed against"
1"Rory pressed both hands flat"
2"The Heartstone Pendant against her"
3"She'd followed the warmth here."
4"The stones formed a rough"
5"She'd read about them once,"
6"Oak-gate, the old text called"
7"Doorways that opened one way."
8"The hum deepened."
9"The pendant flared."
10"Rory stepped through."
11"The grove swallowed her."
12"The next, silence so complete"
13"She stood in a clearing"
14"Wildflowers carpeted the ground in"
15"The air tasted thick."
16"Copper on the tongue."
17"She didn't turn around."
18"The stones behind her had"
19"The pendant had stopped pulsing."
ratio0.788
96.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences104
matches
0"Whether the doorway still existed"
1"As though someone had just"
ratio0.019
61.69% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount5
matches
0"She stood in a clearing ringed by trees that weren't quite trees, their bark pale as parchment, their branches tangled overhead in patterns that looked delibera…"
1"The wildflowers at her feet began to close, one by one, petals folding inward as though retreating."
2"She lunged for the gap between the two nearest and slammed into something that felt like compressed air, like pushing through water that wasn't wet."
3"Its beam lay on the ground, pointing at the well, illuminating the bucket that was now swinging."
4"Eyes like polished obsidian, no whites, no iris, just black mirrors that reflected Rory's face back at her, twisted with terror."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
7.14% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences7
tagDensity0.429
leniency0.857
rawRatio0.333
effectiveRatio0.286
85.8683%