Run: 2026-07-25-01KYCR55CV3G3QZBEXHZP5RY6G

Run Details

Duration:
59.2s
Cost:
$0.107910
Provider:
Amazon Bedrock

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 bike chain rattled once behind me and then went quiet, which was the first thing that felt wrong. I'd leaned it against the last of the standing stones, that squat blackened oak trunk with the crack down its middle, and the chain had swung, and then it had stopped swinging. Straight away. No wobble, no second pass. Like the air had taken hold of it. I stood there with a plastic bag of cold noodles in one hand and told myself it was nothing. Richmond Park at night is not silent. That's the thing people get wrong. There's aircraft crawling over Heathrow's approach, there's the hum of the South Circular bleeding through the trees, there's deer coughing at each other like old men in a pub. I'd cycled in past Roehampton Gate an hour ago with all of that in my ears. Inside the grove there was none of it. "Isolde." My voice came out flat, no echo, absorbed. "You said midnight. It's midnight." Nothing moved. The wildflowers stood in their impossible summer, cornflower and campion and something white with a throat like a bruise, all of them wide open in the dark. Flowers close at night. Every one of these was open, and every one of them faced me. I set the noodles down on the flat stone at the centre, where the grass grows in a spiral if you look too long. Cold sesame, no meat, because Yu-Fei said the old ones don't take flesh from strangers and she'd rapped my knuckles with a chopstick when I'd suggested char siu. Beside the box I put a thimble of cream and a pinch of salt on a paper napkin from the Golden Empress, gold dragon printed in the corner. Not dignified. Best I had. "Right," I said. "Offering's made. Come and have a word." The pendant lay cool against my sternum. Cool was good. Cool meant nothing from Hel within a mile, or so I'd been told by a man who'd then vanished into a bus queue and never come back. I waited. I'm good at waiting. Three years of my father's dinner tables taught me how to sit still while something unpleasant circled the room. So I counted, and I listened, and at somewhere past four hundred I noticed the sound. A soft tick-tock. Not a clock. Wetter than a clock. It came from behind the treeline on the left, in the deep part where the oaks knit together, and it kept perfect time, and after a while I understood that it was the sound of something being chewed. Slowly. Thoughtfully. With no particular hurry, because whatever it was, it had all night and I clearly wasn't going anywhere. "Hello?" The chewing stopped. The relief lasted about two seconds, which is how long it took me to work out that a thing that stops eating when you speak to it is a thing that is now listening. I did not run. Rule one of the grove, according to Isolde herself, delivered while braiding grass into a ring: never run in a place that decides its own distances. Run and the trees get further apart. Run and the way out goes shy. Instead I turned, slow as a shop window mannequin, and looked at the boundary. Seven stones. I'd counted them coming in, because I count things, because my mother made me count the stairs at Cardiff Central when I was six and it never quite wore off. Seven blackened oak stumps in a ragged circle, one with a crack, one with a shelf of yellow fungus, one leaning like a drunk. I counted eight. The new one stood between the leaner and the cracked one, in a gap I could have sworn was empty grass. Same colour. Same weathered ridges. Slightly taller. My bike was still propped where I'd left it, and the front wheel had turned to point at me. "That's not funny," I said, to nobody, to the flowers. A breath of air crossed the clearing then, and the wildflowers all bowed together, and every single one of them bowed towards the eighth stone. Something in my chest went very tight and very quiet. I made myself breathe out through my mouth. Think. Not panic, think. The gate out is the way you came, unless the way you came has changed, and it had, so the gate out was now a coin toss between two gaps, and coin tosses in Richmond Park cost you more than money. I walked to the flat stone and picked the salt back up. Held it in my fist. That's when the deer came. It stepped out of the black between two oaks with no sound whatsoever, a red hind, and stood twelve feet away, side on. Ordinary. Beautiful, even. I've seen a hundred of them out on the bracken, and I've had them stare me down over a dropped sandwich. This one didn't blink. I counted again, because counting is what I do when the alternative is screaming. One minute. Two. Its flank rose and fell and its eye stayed wet and open and fixed, and there was no lid coming down over it, ever, and the longer I looked the more certain I became that the eye was not looking at me but at something standing just behind my right shoulder, at head height, roughly nine inches away. I did not turn round. "Aurora." My mother's voice. Warm, Welsh, the way she says it with the middle drawn out, Auror-a, come and get your tea. It came from the treeline where the chewing had been. "Aurora, love." She was in Cardiff. I'd spoken to her at six o'clock, she'd been complaining about a boiler and a neighbour's cat, and she was two hundred miles away with the telly on. "Nice try," I said. My voice cracked in the middle and I hated it. "She'd say Rory." Silence. A long, considering silence, the kind that means a thing is filing something away for later. Then, from a different part of the trees, closer, lower, and with the exact lazy amusement I'd spent a year learning to read through a wall: "Rory." Evan. Every muscle in my back locked. My hands went cold to the wrist, right over the little crescent scar, and for a heartbeat I was twenty-two again and standing in a hallway working out from the sound of a key in a lock how the next four hours would go. He was in Cardiff too. In a flat I'd stopped picturing. He'd never once been to London, never once been here, and there was no way on God's earth that anything in this clearing had ever heard that voice except from inside my own head. Which meant it had been in there. Rummaging. Pulling out the sharpest thing in the drawer. "You want to try again," I said, and I was proud of how level it came out, "you'll have to do better. He never called me Rory. Only strangers do that." A soft sound answered. Not words. Something like a page turning. I stepped backwards towards the gap I'd chosen, salt fist raised, eyes on the hind that would not blink, and my heel found the flat stone. The offering was gone. Noodles, cream, napkin with the gold dragon, all of it, and in its place, laid neat as a place setting, sat a small circle of braided grass, gone brown, gone old, the ring Isolde had made and given me eleven days ago and that I had left on my bedside table above Silas' bar, forty minutes away across a locked city. The Heartstone woke against my skin. Not a pulse. Not the faint warm nudge I'd been taught to watch for. It went hot as a fresh-poured cup, hot enough to burn, and it did it fast, and it dragged the chain tight around my neck as if the stone wanted to be somewhere else and was going to take me with it. Behind me, in the middle of the grove, the grass began to smell of ash. And every flower in that clearing turned, all at once, to face the eighth stone as it started to walk.
created_at"2026-07-25T13:41:39.883Z" 7/25/2026, 1:41:39 PM
model"anthropic/claude-opus-5-20260723"
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cancelledfalse
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generation_time59061
tokens_prompt4387
tokens_completion2149
native_tokens_prompt6422
native_tokens_completion3032
native_tokens_completion_images(null)
native_tokens_reasoning291
native_tokens_cached0
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"end_turn"
service_tier"default"
usage0.10791
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provider_responses
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endpoint_id"76cb4608-f48c-483d-8da8-9957fb44244e"
id"msg_011CdNsXzXB8EVvhYAWCqXWY"
is_byokfalse
latency1882
model_permaslug"anthropic/claude-opus-5-20260723"
provider_name"Amazon Bedrock"
status200
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
85.44% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1374
totalAiIsmAdverbs4
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
2
adverb"very"
count2
highlights
0"slowly"
1"slightly"
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)
81.80% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1374
totalAiIsms5
found
0
word"echo"
count1
1
word"perfect"
count1
2
word"silence"
count2
3
word"pulse"
count1
highlights
0"echo"
1"perfect"
2"silence"
3"pulse"
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
narrationSentences104
matches
0"was proud"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences104
filterMatches
0"look"
hedgeMatches
0"began to"
1"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences111
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen61
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1374
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions25
wordCount1319
uniqueNames20
maxNameDensity0.23
worstName"Cardiff"
maxWindowNameDensity1
worstWindowName"Cardiff"
discoveredNames
Park2
Heathrow1
South1
Circular1
Roehampton1
Gate1
Yu-Fei1
Golden1
Empress1
Hel1
Isolde2
Cardiff3
Central1
Richmond2
Welsh1
Auror-a1
Evan1
London1
God1
Heartstone1
persons
0"Heathrow"
1"Circular"
2"Yu-Fei"
3"Auror-a"
4"Evan"
5"God"
6"Heartstone"
places
0"Park"
1"Golden"
2"Hel"
3"Cardiff"
4"Richmond"
5"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences60
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.728
wordCount1374
matches
0"not looking at me but at something standing just behind my right shoulder, at head"
46.55% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences111
matches
0"understood that it"
1"out that a"
2"became that the"
3"heard that voice"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean28.04
std24.36
cv0.869
sampleLengths
066
119
258
38
414
546
685
710
837
92
1039
1168
121
133
1434
1544
1614
1756
183
1947
2010
2125
2263
2317
245
2547
264
2775
285
291
3021
3110
322
3332
3417
3517
3626
371
381
3950
4045
4116
4231
4311
4491
456
4656
4715
4820
91.77% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences104
matches
0"been told"
1"being chewed"
2"was gone"
3"been taught"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs224
matches
0"wasn't going"
1"was not looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences111
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1226
adjectiveStacks1
stackExamples
0"lay cool against my"
adverbCount38
adverbRatio0.03099510603588907
lyAdverbCount6
lyAdverbRatio0.004893964110929853
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences111
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences111
mean12.38
std12.71
cv1.027
sampleLengths
019
132
22
35
48
519
67
76
829
916
108
119
125
132
1427
154
1613
1724
1828
1928
202
213
223
237
247
253
2627
272
284
2919
3016
313
323
334
3438
351
361
3718
381
393
4034
414
4226
437
447
4514
462
4730
4824
493
87.69% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.5585585585585585
totalSentences111
uniqueOpeners62
79.37% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences84
matches
0"Instead I turned, slow as"
1"Then, from a different part"
ratio0.024
77.14% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences84
matches
0"I'd leaned it against the"
1"I stood there with a"
2"I'd cycled in past Roehampton"
3"My voice came out flat,"
4"I set the noodles down"
5"I'm good at waiting."
6"It came from behind the"
7"I did not run."
8"I'd counted them coming in,"
9"I counted eight."
10"My bike was still propped"
11"I said, to nobody, to"
12"I made myself breathe out"
13"I walked to the flat"
14"It stepped out of the"
15"I've seen a hundred of"
16"I counted again, because counting"
17"Its flank rose and fell"
18"I did not turn round."
19"My mother's voice."
ratio0.357
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount54
totalSentences84
matches
0"The bike chain rattled once"
1"I'd leaned it against the"
2"I stood there with a"
3"Richmond Park at night is"
4"That's the thing people get"
5"I'd cycled in past Roehampton"
6"My voice came out flat,"
7"The wildflowers stood in their"
8"Every one of these was"
9"I set the noodles down"
10"The pendant lay cool against"
11"I'm good at waiting."
12"A soft tick-tock."
13"It came from behind the"
14"The chewing stopped."
15"The relief lasted about two"
16"I did not run."
17"Run and the trees get"
18"Run and the way out"
19"I'd counted them coming in,"
ratio0.643
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences84
matches(empty)
ratio0
76.41% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount4
matches
0"The relief lasted about two seconds, which is how long it took me to work out that a thing that stops eating when you speak to it is a thing that is now listeni…"
1"Rule one of the grove, according to Isolde herself, delivered while braiding grass into a ring: never run in a place that decides its own distances."
2"A long, considering silence, the kind that means a thing is filing something away for later."
3"It went hot as a fresh-poured cup, hot enough to burn, and it did it fast, and it dragged the chain tight around my neck as if the stone wanted to be somewhere …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences12
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
90.6724%