Run: 2026-07-25-01KYCR9PR5XTNQAXMENMEVB0X4

Run Details

Duration:
1m 7s
Cost:
$0.120460
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 padlock on the Ham Gate was the size of my fist. I went over the gate anyway, one boot on the hinge, the paper bag from the Golden Empress clamped in my teeth. Yu-Fei's last words on the subject still rattled about in my skull. *Never walk into their grass with empty hands, Rory. Empty hands mean you are the gift.* So: four char siu buns, still warm through the paper, and a thermos of jasmine tea. Not much of a bribe for whatever waited past the stones, but it was what I had at half eleven on a Tuesday. Richmond Park at night wasn't dark so much as thick. The city glowed orange on all sides, a bruise round the edge of the world, and inside that ring the bracken stood black and waist-high. I kept off the bridle path. Deer moved somewhere to my left, that dry cough they make, and I let it settle me. Deer meant ordinary. Deer meant nothing worse was nearby. I'd walked this line three times in daylight to memorise it. Left at the dead beech, past the pond that smelled of pennies, then the long slow rise where the ground went spongy and my trainers came up green. The stones sat at the top. Eight of them, and not stones at all. Oak. Old oak, split and silvered, driven into the earth like teeth into a gum, each one taller than me and worn smooth on the inside faces where something had passed between them for a very long time. Isolde called it a grove. I'd once called it a car park for gods, and she hadn't laughed. Grass grew right up to the gap between the two tallest posts, then stopped. A clean line, as if someone had run a blade along it. "Right," I said. My breath fogged. I stepped through. It didn't. That was the first thing. One stride and the air went warm on my face, soft as a laundry room, and the cloud of my own breath simply wasn't there any more. Behind me, through the gap, London still throbbed orange. Ahead, meadow. Cow parsley high as my ribs, foxgloves, poppies, campion, all of it in flower at once in the middle of November, all of it lit by a light with no source that I could find. I'd been here before. That was the point. I knew this place the way you know a friend's kitchen. So I knew, straight off, that something was wrong with it. Silence. Not quiet, silence. A grove full of flowers in bloom should have hummed. Moths, at least. Crickets. The tick and rustle of small hungry things going about their business. I stood there with the bag warming my palm and heard my own pulse in my ears, and nothing else. "Isolde." The word went out and didn't come back. No echo, but no dampening either. It went out and kept going, like I'd spoken into a corridor rather than a field. I crouched and put the buns and the thermos on the flattened patch where I'd always left offerings, near the base of the third post. The grass there had held its shape since my last visit. My knee-prints, my heel. Weeks old, and pressed as fresh as if I'd knelt a minute ago. Then the pendant grew warm. I want to be accurate about this, because I went over it a hundred times afterwards. The Heartstone had two settings in my experience. Cold, meaning nothing. And warm, meaning Hel had a door open somewhere close enough to matter. It had never once so much as flickered in the grove. Isolde's ground and Hel's business had nothing to do with each other. She'd told me that herself, with the particular flat contempt the Fae keep for anything that crawls. The crimson stone sat against my sternum and put out heat like a mug of tea through a jumper. "No," I said. Out loud. As if the universe took requests. A wood pigeon started up somewhere off to the right. Five notes, that fat lazy *my toe bleeds, Betty* rhythm they do. I let my shoulders drop an inch. Birds were good. Birds were normal. It did it again. Five notes. Again. The same five, at the same pitch, with the same little hitch in the fourth. I counted eleven repetitions before I understood I was listening to a recording. Not a bird copying itself. A loop. The same second of sound, cut and stitched and played back, and somewhere in the ninth repeat I caught the join, a tiny click, like a tongue against teeth. I stood up slowly. Kept my hands where I could see them. "You can stop that," I said. "It's not very good." The pigeon stopped mid-note. The silence afterwards had weight to it, and in that weight I heard the second thing. Far off, thin, coming from the direction of the meadow's centre where there should have been nothing but more flowers. A bicycle bell. Two quick rings. The exact tinny double-ring of the bell on the Golden Empress delivery bike, the one with the mudguard that sings on Fridays. I hadn't brought the bike. I'd left it chained outside the bar, in the city, on the other side of the stones. Something moved at the corner of my eye. Left side, low, a shifting of stems as though a fox had cut through them, and when I turned my head the cow parsley stood dead still, and the movement was on my right instead, closer, sliding behind me on the diagonal. Rule one for this kind of thing: don't turn all the way round. You give away that you've noticed, and whatever it is stops bothering with subtlety. I turned all the way round. Nothing. Flowers to the treeline. Beyond the treeline, the eight oak posts, and through the gap between them, the orange sky of a city that seemed suddenly very theoretical. The flowers, all of them, had turned. Not towards the light. Poppies and campion and foxglove, every head canted the same way, towards a spot maybe thirty feet from me where the meadow dipped, and stayed canted, patient as a congregation. I put my hand over the pendant to stop the glow showing through my shirt. It burned my palm. "Isolde, I'm calling in the favour," I said, and heard my voice come out thin. "Now would be a lovely time to be territorial." The dip in the meadow breathed. That's the only word for it. The ground rose, an inch, maybe two, and the flowers rode up with it and settled again, and the warm air moved across my face carrying a smell that had no business in a meadow. Wet iron. Hot fat. Something underneath that, sweet and turned, like a bin bag left in a stairwell over August. Somewhere between me and the dip, a bare foot pressed the grass flat. I watched the stems fold. I watched them rise again, unhurried, and fold once more a yard nearer, and the print they left was small and narrow and had a long stride for its size. "Malphora." It came from behind my right ear. Warm breath, close enough to move my hair, a woman's voice, kind, delighted, the voice of an aunt who has waited all afternoon by the window for you. Nobody had ever called me that. And still my mouth opened and my throat moved and something in me answered to it, the way a dog's head lifts at its name, and I felt the shape of the word settle over me like a coat that fitted. Behind me, the oaks groaned. All eight of them at once, bending inwards, the gap between the tallest two narrowing to a hand's width of orange light. The bare foot pressed the grass one last time, right beside my own. Fingers closed round my wrist, over the crescent scar, and they were cold, and they were exactly the size of mine.
created_at"2026-07-25T13:44:08.725Z" 7/25/2026, 1:44:08 PM
model"anthropic/claude-opus-5-20260723"
app_id182717
external_user(null)
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cancelledfalse
latency5381
moderation_latency(null)
generation_time66966
tokens_prompt4387
tokens_completion2425
native_tokens_prompt6422
native_tokens_completion3534
native_tokens_completion_images(null)
native_tokens_reasoning602
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"
usage0.12046
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provider_responses
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endpoint_id"76cb4608-f48c-483d-8da8-9957fb44244e"
id"msg_011CdNsiyA84NgsFKWZfm3b6"
is_byokfalse
latency1708
model_permaslug"anthropic/claude-opus-5-20260723"
provider_name"Amazon Bedrock"
status200
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provider_name"Amazon Bedrock"
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data_region"global"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
81.40% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1344
totalAiIsmAdverbs5
found
0
adverb"very"
count3
1
adverb"slowly"
count1
2
adverb"suddenly"
count1
highlights
0"very"
1"slowly"
2"suddenly"
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)
66.52% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1344
totalAiIsms9
found
0
word"throbbed"
count1
1
word"silence"
count3
2
word"pulse"
count1
3
word"echo"
count1
4
word"flickered"
count1
5
word"weight"
count2
highlights
0"throbbed"
1"silence"
2"pulse"
3"echo"
4"flickered"
5"weight"
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
narrationSentences117
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences117
filterMatches
0"know"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences121
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords20
totalWords1344
ratio0.015
matches
0"Never walk into their grass with empty hands, Rory. Empty hands mean you are the gift."
1"my toe bleeds, Betty"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions20
wordCount1317
uniqueNames15
maxNameDensity0.23
worstName"Deer"
maxWindowNameDensity1.5
worstWindowName"Deer"
discoveredNames
Ham1
Gate1
Golden2
Empress2
Rory1
Tuesday1
Park1
London1
November1
Heartstone1
Hel2
Fae1
Fridays1
August1
Deer3
persons
0"Empress"
1"Rory"
2"Heartstone"
3"Hel"
4"Fae"
5"Deer"
places
0"Golden"
1"Park"
2"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.744
wordCount1344
matches
0"Not much of a bribe for whatever waited past the stones, but it was what I had at half eleven on a Tuesday"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences121
matches
0"away that you've"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean26.88
std19.01
cv0.707
sampleLengths
034
128
239
367
439
56
664
726
83
96
102
1178
1219
1311
1450
151
1630
1753
185
1940
2040
2119
2211
2335
246
2516
2649
2712
2810
294
3036
3128
3222
3350
3427
356
3629
3741
3819
3924
406
4161
4213
4335
441
4535
4647
4727
4813
4921
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences117
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs188
matches
0"was listening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences121
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1322
adjectiveStacks2
stackExamples
0"Far off, thin, coming"
1"exact tinny double-ring"
adverbCount51
adverbRatio0.038577912254160365
lyAdverbCount5
lyAdverbRatio0.0037821482602118004
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences121
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences121
mean11.11
std9.29
cv0.836
sampleLengths
012
122
212
39
47
516
623
710
825
96
1017
113
126
1311
1428
156
168
171
1837
195
2013
2114
2212
233
243
253
262
275
2827
299
302
3135
324
334
3411
3511
361
373
3810
393
401
4112
4220
431
448
456
4616
4725
4811
494
73.55% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.47107438016528924
totalSentences121
uniqueOpeners57
65.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences102
matches
0"Then the pendant grew warm."
1"Somewhere between me and the"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences102
matches
0"I went over the gate"
1"I kept off the bridle"
2"I'd walked this line three"
3"I'd once called it a"
4"My breath fogged."
5"I stepped through."
6"I'd been here before."
7"I knew this place the"
8"I stood there with the"
9"It went out and kept"
10"I crouched and put the"
11"My knee-prints, my heel."
12"I want to be accurate"
13"It had never once so"
14"She'd told me that herself,"
15"I let my shoulders drop"
16"It did it again."
17"I counted eleven repetitions before"
18"I stood up slowly."
19"I hadn't brought the bike."
ratio0.284
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount72
totalSentences102
matches
0"The padlock on the Ham"
1"I went over the gate"
2"Yu-Fei's last words on the"
3"Richmond Park at night wasn't"
4"The city glowed orange on"
5"I kept off the bridle"
6"Deer moved somewhere to my"
7"Deer meant ordinary."
8"Deer meant nothing worse was"
9"I'd walked this line three"
10"The stones sat at the"
11"Isolde called it a grove."
12"I'd once called it a"
13"Grass grew right up to"
14"A clean line, as if"
15"My breath fogged."
16"I stepped through."
17"That was the first thing."
18"Cow parsley high as my"
19"I'd been here before."
ratio0.706
49.02% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences102
matches
0"As if the universe took"
ratio0.01
90.91% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount4
matches
0"Left at the dead beech, past the pond that smelled of pennies, then the long slow rise where the ground went spongy and my trainers came up green."
1"The exact tinny double-ring of the bell on the Golden Empress delivery bike, the one with the mudguard that sings on Fridays."
2"Left side, low, a shifting of stems as though a fox had cut through them, and when I turned my head the cow parsley stood dead still, and the movement was on my…"
3"Warm breath, close enough to move my hair, a woman's voice, kind, delighted, the voice of an aunt who has waited all afternoon by the window for you."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
93.8253%