Run: 2026-07-25-01KYCTYKWTKHRK4W87W7593V50

Run Details

Duration:
55.9s
Cost:
$0.046403
Provider:
BaseTen

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
Rory's trainer crunched through dead bracken that had no business brittle in high summer. The sound echoed back, delayed, like someone walking three paces behind her copying every step with malicious precision. She stopped dead. The Heartstone pendant, hidden beneath her black t-shirt, throbbed against her collarbone with a heat that bordered on burn. Its deep crimson gem, rough as a thumbnail, cast faint red ripples across her palm when she hauled the silver chain free. The links warmed instantly, pulsing in time with her heart, or perhaps in opposition to it. Near a portal, her unknown benefactor had said. Near Hel. She was not near Hel. She was in Richmond Park, or she had been twenty minutes prior, before she pushed through a gap in the hawthorn hedge that should have led to the Thames path and instead dropped her into this hidden clearing. Here was wrong. Tall ancient grey oak standing stones ringed the space, each one carved with spirals that hurt to trace with her eyes, patterns that seemed to writhe in her peripheral vision like worms beneath skin. Between them, wildflowers bloomed in wild abundance, bluebells and foxgloves and others she couldn't name with black centres that seemed to track her movement with quiet intelligence. The air smelled cloyingly sweet, like lilies left in a sealed room for weeks, with an undertone of copper that made her tongue taste iron and old pennies. Rory touched the small crescent-shaped scar on her left wrist, an old habit when her nerves frayed. At twenty-five, with straight black hair plastered now to her neck with sweat, she had learned to keep her head cool, to think in angles others missed, but her heart tick-tocked hard against her ribs with a rhythm that demanded panic she refused to grant. She had come for answers. For three weeks the pendant had tugged at her, stronger each dusk, pulling her north from her flat above Silas's bar, through London's sleeping streets, away from her part-time delivery shifts for Yu-Fei Cheung's Golden Empress, to this grove hidden in the park's belly. Isolde's grove, old maps called it, though Rory knew nothing of Isolde. She had arrived tonight with a torch, a fully charged phone, and the stubborn belief that strange things yielded to logic if pressed hard enough. The echo came again. Crinch, crinch, her footsteps returned from the tree line behind her, precise and mocking, closer this time. Rory spun, her bright blue eyes scanning the darkness. Nothing. Only the stones, closer now, she knew it with a certainty that settled in her gut like ice, though she hadn't stepped toward them. The wildflowers pressed soft and insistent against her calves, releasing that sickly perfume with every brush, leaving faint black pollen on her dark jeans. "Right then," she said, her voice steady despite the tremor she caged behind her teeth. "Time to leave." She turned back toward the hedge gap. Gone. In its place stood a wall of intertwined briars and white-barked birches, thicker than her arms could part, growing with an urgency that made her skin crawl. She tested the barrier with her shoulder, thorns biting through her denim jacket with sharp little kisses. The plants yielded not an inch, but leaned away from her touch with something that felt like disgust, like rejection. Rory pulled out her phone. The screen flickered, died, revived showing Tuesday, then corrected with a mechanical whine. No signal bars, not even a ghost of one. She tried Silas's number anyway, heard only static that formed patterns almost like whispers, and killed the call. She checked her wristwatch. She'd entered at half past eleven. Now it read quarter past eleven, though the quality of darkness had deepened, thickened, as if hours had collapsed into minutes or stretched into endless days. That was the grove, she understood now with a clarity that chilled her marrow. Time moved differently inside, an hour within could be minutes outside, or the reverse, a pocket suspended between Earth and some older realm that did not respect human clocks. She walked the perimeter, boots crushing stems that released clouds of black pollen into the air she was now breathing in shallow, controlled pulls. The pendant pulsed faster, warm then hot, its faint inner glow visible through her cotton shirt. At the north edge she found only more stones, their carvings seeming to shift in her peripheral vision, rearranging with patient, invisible hands that worked faster when she turned her head away. Then she heard the breathing. Not hers. Too slow, too deep, resonating through the soil and up through her boots, rustling through wildflowers that swayed violently though no wind existed in this sealed pocket of air. Rory crouched, palms flat on the cool earth, feeling vibrations through her fingertips. Something large circled, staying just beyond the tree line where shadow pooled thick as spilled ink, where the oaks grew so ancient their bark had turned black and scaled like dead fish. She stood, brushing soil from her knees, and faced the darkness with her shoulders squared. "I'm not lost," she said, projecting her voice steady and loud, the way she spoke to difficult customers at the restaurant. "And I'm leaving. Open the path." The breathing stopped. In the silence that followed, Rory heard a single word whispered through a thousand flower stems, in a voice like her dead grandmother's Welsh lullaby twisted through shattered glass and pulled taut over bones. "Stay." Rory's hand went to her pocket for her keys, for anything hard and familiar, but her fingers found only the pendant, burning now, crimson light bleeding through her clenched fist like a second heart gone wrong. The wildflowers parted ten paces ahead. Not blown by wind. Pulled aside by something low and heavy, leaving a trail of crushed black stems in the soil like footprints in snow. Rory saw eyes first, green and luminous, set too high and too far apart in a face hidden in the shadow of an oak older than London itself, older perhaps than the concept of cities. Then came the sound of roots tearing free from earth, wet and fibrous, like meat separating from bone, and she realised with cold, sharp clarity that the creature had not been hiding in the trees. It had been part of them, woven into bark and root and the very soil that nourished these wrong-coloured flowers, and now it was coming for her with a speed that snapped lower branches like dry kindling beneath its weight. Rory ran. The ground seemed to tilt beneath her feet, the wildflowers grabbing at her ankles with soft, insistent tendrils that clung like fingers. Behind her, the thing crashed through undergrowth with a sound like an ancient tree falling in a forest with no other trees for miles, a thunder that should have echoed but was swallowed instead by the hungry air. She didn't look back. She ran for where the hedge had been, for any opening, her lungs burning, the pendant bouncing hard against her chest, guiding her or dooming her, she couldn't tell, its heat now a constant brand. Then the trees moved. Not swayed. Moved. The ancient oaks on her left and right stepped closer with a grinding of root and soil, closing the path she had taken, herding her back toward the centre of the clearing where the wildflowers grew tallest and blackest, where the air smelled strongest of rot and copper. Rory skidded to a halt, breath ragged, her back pressed hard against one of the standing stones. Its carvings pressed cold, intricate patterns into her spine like a brand. She was trapped. In the centre of the circle, the creature rose, unfolding from a crouch into something that wore human shape the way a cheap coat wears a wire hanger, wrong in every joint and proportion, its skin a patchwork of bark and pale fungus that glistened with something wet, its eyes glowing that horrible green with an intelligence that studied her, catalogued her fear. It took one step toward her, then another, each footfall crushing flowers that screamed in frequencies her ears barely registered, and Rory realised she had come to this grove seeking answers about a pendant and a portal and the strange pull that had dragged her from her bed night after night. Now she had her answer. She was the answer. The bait. The reason the grove had waited, patient and hungry, for someone with a heart that glowed like a beacon in the dark. The thing reached for her with fingers that ended in roots dripping dark soil and something blacker, and Rory Carter, who prided herself on quick thinking, on seeing the escape route others missed, could think of only one thing. She screamed, loud and ragged, and the wildflowers swallowed the sound like water into sand, and then it struck her, hard, and the darkness of the grove rushed in to meet her.
created_at"2026-07-25T14:30:31.081Z" 7/25/2026, 2:30:31 PM
model"thinkingmachines/inkling-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency291
moderation_latency(null)
generation_time55228
tokens_prompt4387
tokens_completion12108
native_tokens_prompt4072
native_tokens_completion10452
native_tokens_completion_images(null)
native_tokens_reasoning8598
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"stop"
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endpoint_id"ba2df08c-c0a0-4e0e-9f31-d79a9c475b70"
id"chatcmpl-60ac62cc3c0c443597a7052c49d606af"
is_byokfalse
latency291
model_permaslug"thinkingmachines/inkling-20260715"
provider_name"BaseTen"
status200
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provider_name"BaseTen"
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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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences5
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
96.65% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1494
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"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)
39.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1494
totalAiIsms18
found
0
word"echoed"
count2
1
word"throbbed"
count1
2
word"charged"
count1
3
word"echo"
count1
4
word"footsteps"
count1
5
word"scanning"
count1
6
word"flickered"
count1
7
word"mechanical"
count1
8
word"chilled"
count1
9
word"pulsed"
count1
10
word"silence"
count1
11
word"shattered"
count1
12
word"familiar"
count1
13
word"weight"
count1
14
word"intricate"
count1
15
word"footfall"
count1
16
word"beacon"
count1
highlights
0"echoed"
1"throbbed"
2"charged"
3"echo"
4"footsteps"
5"scanning"
6"flickered"
7"mechanical"
8"chilled"
9"pulsed"
10"silence"
11"shattered"
12"familiar"
13"weight"
14"intricate"
15"footfall"
16"beacon"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched fist"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences80
matches(empty)
89.29% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences80
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences83
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen63
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1494
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1479
uniqueNames17
maxNameDensity0.88
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Heartstone1
Hel2
Richmond1
Park1
Thames1
Silas2
London2
Yu-Fei1
Cheung1
Golden1
Empress1
Rory13
Isolde2
Tuesday1
Earth1
Welsh1
Carter1
persons
0"Silas"
1"Yu-Fei"
2"Cheung"
3"Rory"
4"Isolde"
5"Tuesday"
6"Carter"
places
0"Hel"
1"Richmond"
2"Park"
3"Thames"
4"London"
globalScore1
windowScore1
18.42% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences57
glossingSentenceCount3
matches
0"patterns that seemed to writhe in her peripheral vision like worms beneath skin"
1"centres that seemed to track her movement with quiet intelligence"
2"felt like disgust, like rejection"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.669
wordCount1494
matches
0"not an inch, but leaned away from her touch with something"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences83
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs45
mean33.2
std24.08
cv0.725
sampleLengths
032
13
267
343
43
589
662
786
821
99
1049
1118
127
131
1464
1545
1636
1743
1872
195
2031
2145
2215
2327
243
2534
261
2736
286
2960
3035
3140
322
3360
3439
354
3651
3729
383
3963
4051
415
4228
4339
4432
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences80
matches
0"was swallowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs231
matches
0"was coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences83
ratio0
matches(empty)
82.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1486
adjectiveStacks3
stackExamples
0"Tall ancient grey oak"
1"small crescent-shaped scar"
2"bouncing hard against her"
adverbCount52
adverbRatio0.034993270524899055
lyAdverbCount13
lyAdverbRatio0.008748317631224764
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences83
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences83
mean18
std14.23
cv0.791
sampleLengths
014
118
23
319
422
516
68
72
85
938
103
1134
1227
1328
1417
1545
165
1744
1812
1925
204
2117
229
231
2424
2524
2615
273
287
291
3027
3117
3220
335
3413
359
3618
374
386
3926
4014
4129
4224
4316
4432
455
462
4729
4813
4932
55.82% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.3855421686746988
totalSentences83
uniqueOpeners32
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences72
matches
0"Only the stones, closer now,"
1"Then she heard the breathing."
2"Too slow, too deep, resonating"
3"Then came the sound of"
4"Then the trees moved."
ratio0.069
92.22% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences72
matches
0"She stopped dead."
1"Its deep crimson gem, rough"
2"She was not near Hel."
3"She was in Richmond Park,"
4"She had come for answers."
5"She had arrived tonight with"
6"she said, her voice steady"
7"She turned back toward the"
8"She tested the barrier with"
9"She tried Silas's number anyway,"
10"She checked her wristwatch."
11"She'd entered at half past"
12"She walked the perimeter, boots"
13"She stood, brushing soil from"
14"she said, projecting her voice"
15"It had been part of"
16"She didn't look back."
17"She ran for where the"
18"Its carvings pressed cold, intricate"
19"She was trapped."
ratio0.319
98.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount52
totalSentences72
matches
0"Rory's trainer crunched through dead"
1"The sound echoed back, delayed,"
2"She stopped dead."
3"The Heartstone pendant, hidden beneath"
4"Its deep crimson gem, rough"
5"The links warmed instantly, pulsing"
6"She was not near Hel."
7"She was in Richmond Park,"
8"Here was wrong."
9"The air smelled cloyingly sweet,"
10"Rory touched the small crescent-shaped"
11"She had come for answers."
12"Isolde's grove, old maps called"
13"She had arrived tonight with"
14"The echo came again."
15"Crinch, crinch, her footsteps returned"
16"Rory spun, her bright blue"
17"The wildflowers pressed soft and"
18"she said, her voice steady"
19"She turned back toward the"
ratio0.722
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences72
matches
0"Now it read quarter past"
1"Now she had her answer."
ratio0.028
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount19
matches
0"The Heartstone pendant, hidden beneath her black t-shirt, throbbed against her collarbone with a heat that bordered on burn."
1"Tall ancient grey oak standing stones ringed the space, each one carved with spirals that hurt to trace with her eyes, patterns that seemed to writhe in her per…"
2"Between them, wildflowers bloomed in wild abundance, bluebells and foxgloves and others she couldn't name with black centres that seemed to track her movement w…"
3"The air smelled cloyingly sweet, like lilies left in a sealed room for weeks, with an undertone of copper that made her tongue taste iron and old pennies."
4"At twenty-five, with straight black hair plastered now to her neck with sweat, she had learned to keep her head cool, to think in angles others missed, but her …"
5"The wildflowers pressed soft and insistent against her calves, releasing that sickly perfume with every brush, leaving faint black pollen on her dark jeans."
6"In its place stood a wall of intertwined briars and white-barked birches, thicker than her arms could part, growing with an urgency that made her skin crawl."
7"Now it read quarter past eleven, though the quality of darkness had deepened, thickened, as if hours had collapsed into minutes or stretched into endless days."
8"Time moved differently inside, an hour within could be minutes outside, or the reverse, a pocket suspended between Earth and some older realm that did not respe…"
9"At the north edge she found only more stones, their carvings seeming to shift in her peripheral vision, rearranging with patient, invisible hands that worked fa…"
10"Too slow, too deep, resonating through the soil and up through her boots, rustling through wildflowers that swayed violently though no wind existed in this seal…"
11"In the silence that followed, Rory heard a single word whispered through a thousand flower stems, in a voice like her dead grandmother's Welsh lullaby twisted t…"
12"It had been part of them, woven into bark and root and the very soil that nourished these wrong-coloured flowers, and now it was coming for her with a speed tha…"
13"The ground seemed to tilt beneath her feet, the wildflowers grabbing at her ankles with soft, insistent tendrils that clung like fingers."
14"Behind her, the thing crashed through undergrowth with a sound like an ancient tree falling in a forest with no other trees for miles, a thunder that should hav…"
15"She ran for where the hedge had been, for any opening, her lungs burning, the pendant bouncing hard against her chest, guiding her or dooming her, she couldn't …"
16"In the centre of the circle, the creature rose, unfolding from a crouch into something that wore human shape the way a cheap coat wears a wire hanger, wrong in …"
17"It took one step toward her, then another, each footfall crushing flowers that screamed in frequencies her ears barely registered, and Rory realised she had com…"
18"The thing reached for her with fingers that ended in roots dripping dark soil and something blacker, and Rory Carter, who prided herself on quick thinking, on s…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences5
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
89.1018%