Run: 2026-07-25-01KYCQYF4YDHV929725M9SNGQZ

Run Details

Duration:
1m 7s
Cost:
$0.128395
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <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> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The stones didn't want us. I felt it in my molars when I crossed between them, a pressure like a plane dropping altitude, and then the whole of Richmond Park went silent behind me as if someone had shut a very heavy door. "Say something," I said. "Something." Nyx's voice came from my left, then my right, then somewhere under my ribs. "I have said it. Are you comforted?" "Not remotely." Silas came through last, ducking his head under a branch that hadn't been there when I looked at it. He was still holding the crowbar he'd brought from behind the bar, which said everything about what Silas thought of the Fae. "That's not right," he said. "Which bit?" "All of it. But start with the grass." I looked down. Bluebells. In August. Bluebells and cowslips and a spill of poppies, and threaded between them, crocuses, the little purple ones that come up through frost. Four seasons growing shoulder to shoulder like nothing had ever told them not to. When I lifted my boot, the flattened stems rose again behind me, unbending slow, the way a cat stretches. "No footprints," I said. "You're leaving them." Nyx crouched, a smear of black in the shape of a person. "For a moment. Then the grove tidies up after you. It does not like evidence." The air smelled green. Not the polite green of a garden centre, but something older and wetter, moss and cut apple and the underside of a stone. I breathed it in and my chest ached, the way it does when you hear a song your dead grandmother used to hum. We walked in. The oaks stood in a loose ring, twelve of them, and they were not shaped like trees. Their trunks looked plaited, great ropes of grey bark twisted together and then twisted again, and where the ropes parted you could see through the gaps to more grove on the other side, but not the same grove. Different flowers. Different light. I put my hand up to one of the gaps and felt warm wind pushing out of it, carrying a smell of hot bread. "Don't," Silas said. I didn't. Above us the sky had gone the colour of the inside of a shell, pink turning to green turning to a soft dirty gold, and there were no aeroplanes. That was the thing that got under my skin. Twenty minutes' walk from the A3 and there was not one white scratch across the sky, no distant hum, no sirens, no dogs. London is never quiet. London breathes all night. Here, the silence had a texture, like felt pressed against my ears, and every sound we made fell into it and vanished. Then the birds started, and I wished they hadn't. It was blackbird song, I'd know it anywhere, my mother used to make me stop on the garden path and listen. But it ran backwards. It rose where it should have fallen, and the trills ate themselves, and when it finished, it played again exactly the same, note for note, like a tape loop. "Rory." Silas had his sleeve pushed up. "Look." His watch hands were going round. Not fast. Steady, both of them, the minute hand and the hour hand at the same pace, sweeping like they'd agreed to stop competing. I pulled out my phone. 21:47. I watched it. 21:47. 21:47. The screen showed no signal, no wifi, and the little battery icon had filled itself to a hundred per cent, which it had absolutely no right to do after the day I'd had. "How long have we been in here?" I asked. "Since we came in," Nyx said. "That's not an answer." "It is the only honest one." They straightened, and I noticed then what had been bothering me since the stones. Nyx cast no shadow. Neither did I. Neither did Silas, or the oaks, or the flowers. The light in the grove came from everywhere and nowhere, soft as a lamp behind muslin, and it laid nothing dark on the ground. Nyx noticed me noticing. Their violet eyes dimmed a fraction. "You can't travel," I said. "I cannot slip. There is nothing here to slip into." A pause. "If we must leave quickly, we leave on foot, like meat." "Charming," Silas said. "Accurate." We went deeper. The ground sloped down, which made no sense, because Richmond Park doesn't do valleys in that spot, and a stream came up to meet us running the wrong way, uphill, over stones that chimed faintly when the water crossed them. Silas knelt and put two fingers in and swore, quietly, and shook them like he'd been stung. "Cold?" "Sweet," he said. "It tastes sweet from the smell of it. I'm not drinking it." "Nobody's drinking anything." I'd read enough. Don't eat, don't drink, don't dance, don't thank them, don't give your name. Past the stream, we found the shelf. That's what I called it in my head, though it was really a fallen oak, hollowed, its inside worn smooth as a church pew. Things lay along it in a neat row. A tortoiseshell hair comb. A brass pocket watch with the glass gone. A pair of spectacles, wire, bent at one arm. A Walkman, orange foam crumbling off the headphones. A single child's trainer, velcro strap, light-up heel, and when I picked it up the heel lit red and flashed three times. Nobody said anything for a moment. "Offerings," Silas said, hopeful. "No." I set the trainer back exactly where it had been. "Offerings go on altars. This is a lost property box." The blackbird played its loop again. Somewhere off behind the twelfth oak, something laughed, high and delighted, and stopped as if a hand had gone over its mouth. Silas gripped the crowbar tighter. "Right. Where's your seer, then?" "She finds you." I turned a slow circle. "That's how it works, apparently. You come in and you wait and she decides whether you're worth the conversation." "And if we're not?" "Then we're a comb," Nyx said. Wildflowers had grown up through the sole of the child's trainer. Years of them. I made myself look away. That's when the pendant woke up. It sat against my sternum, that stupid crimson stone some stranger had posted through my letterbox in a jiffy bag with no note, and for three weeks it had been nothing but a cold lump that occasionally warmed near Camden Lock. Now it went hot. Not warm. Hot, the way a mug goes hot when you've microwaved it too long, and the heat pushed out through my shirt in a slow pulse, on, off, on, faster. "Rory." Silas had gone grey. "Your chest is glowing." "I know." "Your chest is glowing." "I know." And then the smell came, and it was all wrong for a place full of flowers. Burnt sugar. Caramelised fat. Wine gone to vinegar in the bottom of a cask, and under it, faint, the reek of a kitchen bin left three days in the heat. My mouth watered and my stomach turned over at once, and I hated my own body for the first half of that. Nyx went from person to smoke to person again, and their whisper came out flat and hard. "That is not Fae." The oaks began to bend. All twelve of them, leaning inward from their roots like men craning to see a fight, and their plaited bark groaned, and the loop of birdsong cut off mid-note. "Out," I said. "Now. Back the way we came." The way we came wasn't there. Flowers, stream, slope, more grove. "Ah," said Silas. A woman's voice spoke from behind my shoulder, close enough that her breath moved my hair, and it carried three hundred years of tiredness in it. "Child," Isolde said, "what did you carry through my stones?" The air split open between the fifth oak and the sixth, seams of red light peeling apart like a mouth, and something on the other side of it took a long, wet, appreciative sniff.
created_at"2026-07-25T13:38:00.495Z" 7/25/2026, 1:38:00 PM
model"anthropic/claude-opus-5-20260723"
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generation_time66950
tokens_prompt5142
tokens_completion2374
native_tokens_prompt7639
native_tokens_completion3608
native_tokens_completion_images(null)
native_tokens_reasoning500
native_tokens_cached0
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num_input_audio_prompt(null)
num_media_completion0
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latency1731
model_permaslug"anthropic/claude-opus-5-20260723"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags21
adverbTagCount0
adverbTags(empty)
dialogueSentences44
tagDensity0.477
leniency0.955
rawRatio0
effectiveRatio0
88.85% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1345
totalAiIsmAdverbs3
found
0
adverb"very"
count1
1
adverb"quickly"
count1
2
adverb"really"
count1
highlights
0"very"
1"quickly"
2"really"
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)
77.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1345
totalAiIsms6
found
0
word"silence"
count1
1
word"absolutely"
count1
2
word"dance"
count1
3
word"pulse"
count1
4
word"stomach"
count1
5
word"whisper"
count1
highlights
0"silence"
1"absolutely"
2"dance"
3"pulse"
4"stomach"
5"whisper"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences104
matches(empty)
74.18% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount4
hedgeCount1
narrationSentences104
filterMatches
0"hear"
1"watch"
2"look"
hedgeMatches
0"began 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
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1345
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1131
uniqueNames12
maxNameDensity0.97
worstName"Silas"
maxWindowNameDensity2
worstWindowName"Silas"
discoveredNames
Richmond2
Park2
Nyx7
Silas11
Fae1
August1
London2
Don1
Walkman1
Wildflowers1
Camden1
Lock1
persons
0"Nyx"
1"Silas"
2"Wildflowers"
places
0"Richmond"
1"Park"
2"August"
3"London"
4"Camden"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences53
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.743
wordCount1345
matches
0"Not the polite green of a garden centre, but something older"
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
totalParagraphs62
mean21.69
std23.88
cv1.101
sampleLengths
043
14
222
32
441
55
62
78
861
94
1030
1150
123
1383
143
152
1691
179
1854
198
2030
2144
229
236
244
2560
2610
275
2823
293
301
3160
321
3315
3419
357
3683
376
384
3921
4028
4110
4227
434
446
4519
466
4776
489
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences104
matches
0"been stung"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs191
matches
0"was still holding"
1"were going"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences125
ratio0
matches(empty)
95.76% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount446
adjectiveStacks0
stackExamples(empty)
adverbCount20
adverbRatio0.04484304932735426
lyAdverbCount3
lyAdverbRatio0.006726457399103139
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
mean10.76
std9.88
cv0.918
sampleLengths
05
138
24
315
47
52
619
722
85
92
108
113
121
132
1422
1514
1619
174
1815
1915
204
2123
2223
233
2417
2538
262
272
2824
293
302
3129
329
3323
344
354
3622
379
3821
394
4029
417
421
436
442
4522
465
471
483
491
79.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.5163934426229508
totalSentences122
uniqueOpeners63
86.58% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences77
matches
0"Then the birds started, and"
1"Somewhere off behind the twelfth"
ratio0.026
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount21
totalSentences77
matches
0"I felt it in my"
1"He was still holding the"
2"I looked down."
3"I breathed it in and"
4"We walked in."
5"Their trunks looked plaited, great"
6"I put my hand up"
7"It was blackbird song, I'd"
8"It rose where it should"
9"His watch hands were going"
10"I pulled out my phone."
11"I watched it."
12"They straightened, and I noticed"
13"Their violet eyes dimmed a"
14"We went deeper."
15"I'd read enough"
16"I set the trainer back"
17"I turned a slow circle"
18"I made myself look away."
19"It sat against my sternum,"
ratio0.273
57.40% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount62
totalSentences77
matches
0"The stones didn't want us."
1"I felt it in my"
2"Nyx's voice came from my"
3"Silas came through last, ducking"
4"He was still holding the"
5"I looked down."
6"Bluebells and cowslips and a"
7"Nyx crouched, a smear of"
8"The air smelled green."
9"I breathed it in and"
10"We walked in."
11"The oaks stood in a"
12"Their trunks looked plaited, great"
13"I put my hand up"
14"That was the thing that"
15"London is never quiet."
16"London breathes all night."
17"Here, the silence had a"
18"It was blackbird song, I'd"
19"It rose where it should"
ratio0.805
64.94% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences77
matches
0"Now it went hot."
ratio0.013
81.63% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences35
technicalSentenceCount3
matches
0"I felt it in my molars when I crossed between them, a pressure like a plane dropping altitude, and then the whole of Richmond Park went silent behind me as if s…"
1"Silas came through last, ducking his head under a branch that hadn't been there when I looked at it."
2"Somewhere off behind the twelfth oak, something laughed, high and delighted, and stopped as if a hand had gone over its mouth."
77.38% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount2
matches
0"Nyx crouched, a smear of black in the shape of a person"
1"Silas said, hopeful"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags13
fancyCount0
fancyTags(empty)
dialogueSentences44
tagDensity0.295
leniency0.591
rawRatio0
effectiveRatio0
92.7973%