Run: 2026-07-25-01KYCWMGBM18C7YVHYP9V6VGFN

Run Details

Duration:
1m 3s
Cost:
$0.036395
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 boot sank into mud that had no right existing in Richmond Park. The ground should have been frost-hard, not sucking at her sole like wet sponge. She pulled free with a soft, ugly sound. The Heartstone pendant beneath her coat throbbed against her collarbone, hot and insistent, like a second heart that had forgotten whose chest it owned. She'd come for a misdelivered envelope, one with Evan's looping, arrogant scrawl across the front. The address had led her past deer gates, past ponds, into this part of the park that her phone's map refused to render. Now the path behind her had dissolved into bramble and dark, and the envelope crumpled in her pocket like a dead leaf. She pushed forward. Thorns scratched her palms, leaving thin lines that stung. The smell hit her then, jasmine layered over something sweeter, something that made her teeth ache with each breath. Not panic, not yet, just her body remembering old alarms, the ones Evan had trained into her across eighteen months of careful damage. The clearing opened without warning. Ancient oak standing stones rose in a rough circle, grey-green with moss, older than the park, older than London. Between them, wildflowers bloomed in shades she couldn't name, violet and gold and a pale blue that seemed to emit faint light of its own. Petals trembled though the air hung dead still, heavy as stagnant water. Rory stepped closer. The pendant burned now, deep crimson visible through her shirt fabric. Near a Hel portal it always did this. She hadn't known one lurked in Richmond. She checked her phone. Dead black screen, though she'd charged it full before leaving Silas's bar. Her watch had stopped at 11:47, though she was certain she'd walked for hours, or perhaps minutes. Time in these pockets stretched like old elastic, she knew that from Eva's stories, the ones Rory had dismissed as escape fantasies for people softer than she was. She turned slowly. The stones stood near three metres high, carved with patterns that hurt her eyes if she stared, geometric spirals that seemed to sink into the wood rather than rest upon it. Wildflowers covered every inch inside the circle, soft and inviting, but she didn't cross. Something about the way they turned, subtly, towards her boots. A sound came from her left. Not footsteps, more like wet leather dragging across stone. Rory snapped her head round. Nothing. Only flowers swaying in silent unison, though no breeze touched her dark hair. "Right." She said it aloud, voice thin, swallowed by trees. "Lost in the woods. Classic." She pressed her back to one of the stones. Bark was rough, warm, pulsing with a rhythm that matched the pendant's throb. She told herself geothermal heat, underground springs common to old land. She was cool-headed, intelligent, quick with logic. This was work for reason, not for the crawl that had started at her spine's base. Then she heard breathing. Not hers. Too slow, too wet, like air pulled through a drain clogged with rot. It came from everywhere, echoing between stones with an intimacy that prickled her skin. Rory moved along the perimeter, boots silent on moss, keeping the circle in view. Her left wrist itched, the old crescent scar from a Cardiff fall, and she rubbed it with her thumb without thought. The breathing followed her pace, adjusting, learning. At the far tree line, something shifted. Too tall, bending at angles that made her eyes water. Half-hidden by shadow, but she caught long limbs ending in excess joints, a head tilting like a broken puppet examining dead prey. Her mouth went dry. She reached for her phone, dead weight. She needed to run, but her feet rooted, mind racing through exits that all ended in dead ends. The pendant flared, casting red across grass, illuminating flowers that now leaned inward, towards the circle's centre, towards her. She broke paralysis first. That was her gift, Eva always said, thinking when others froze. Rory ran. Boots pounded earth, but the grove expanded with each stride. Stones receded, then surged closer, rearranging like teeth in a shifting jaw. Air thickened, tasting of copper and old honey, clinging to her throat. Behind her, dragging accelerated, gaining rhythm, gaining purpose, close enough now that she smelt it, rot and iron and burnt sugar. She tripped over a root that hadn't existed seconds prior. Hit ground hard, elbow jarring, breath leaving in a sharp grunt. Palm scraped hidden stone, and she tasted blood, copper-bright on her tongue. Above, the sky was wrong. Stars arranged in patterns that hurt to parse, some sliding slowly across black in directions that mocked physics, leaving faint greenish trails like dying phosphor. The breathing pressed against her neck, hot and rancid, carrying syllables that twisted her name through water. Rory rolled, scrambling back, spine against cold oak. The shape loomed, featureless except for eyes reflecting her own terrified face, bright blue irises staring back from a face that had none. The pendant blazed crimson, searing her chest through fabric. She clawed it out, silver chain biting her palm, holding it up like a ward she didn't understand. The thing froze. Its head snapped towards the gem with a crack like splitting timber. For an instant she saw true shape, too many angles, limbs folding wrong, mouth opening wider than bone allowed, filled with darkness and small white flower-like teeth. She didn't wait for explanation. She hurled the pendant into darkness between stones, towards where she prayed the path lay. Light exploded, white and silent, swallowing grove and shape and sound. For one blinding moment she saw trees bending away, roots tearing free with screams that hurt her mind rather than ears, then darkness crashed back, heavier, absolute. She lay in mud, chest heaving, pendant gone, silence pressing like deep water. Then, from directly in front, arm's length away, her own voice whispered her name with perfect, awful intimacy, carrying her Cardiff lilt twisted into hunger. Rory's heart skipped, then thundered back. She scrambled backward, hands finding nothing, eyes searching black for source absent. The voice came again, closer, speaking words she hadn't said, laughing with a sound that was hers and not hers. And in the darkness, something smiled with her teeth.
created_at"2026-07-25T14:59:56.931Z" 7/25/2026, 2:59:56 PM
model"thinkingmachines/inkling-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency262
moderation_latency(null)
generation_time62482
tokens_prompt4387
tokens_completion9383
native_tokens_prompt4072
native_tokens_completion7981
native_tokens_completion_images(null)
native_tokens_reasoning6641
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"
service_tier(null)
usage0.03639505
router(null)
provider_responses
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endpoint_id"ba2df08c-c0a0-4e0e-9f31-d79a9c475b70"
id"chatcmpl-79ef624ec227440daeaf332884286fd1"
is_byokfalse
latency262
model_permaslug"thinkingmachines/inkling-20260715"
provider_name"BaseTen"
status200
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags0
90.42% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1044
totalAiIsmAdverbs2
found
0
adverb"slowly"
count2
highlights
0"slowly"
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)
32.95% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1044
totalAiIsms14
found
0
word"throbbed"
count1
1
word"trembled"
count1
2
word"charged"
count1
3
word"footsteps"
count1
4
word"throb"
count1
5
word"echoing"
count1
6
word"weight"
count1
7
word"racing"
count1
8
word"loomed"
count1
9
word"searing"
count1
10
word"silence"
count1
11
word"perfect"
count1
12
word"lilt"
count1
13
word"thundered"
count1
highlights
0"throbbed"
1"trembled"
2"charged"
3"footsteps"
4"throb"
5"echoing"
6"weight"
7"racing"
8"loomed"
9"searing"
10"silence"
11"perfect"
12"lilt"
13"thundered"
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
narrationSentences82
matches(empty)
90.59% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences82
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences84
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1044
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions21
wordCount1038
uniqueNames10
maxNameDensity0.77
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Richmond2
Park1
Heartstone1
Evan2
London1
Hel1
Silas1
Eva2
Rory8
Cardiff2
persons
0"Evan"
1"Silas"
2"Eva"
3"Rory"
places
0"Richmond"
1"Park"
2"London"
3"Hel"
4"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences67
glossingSentenceCount1
matches
0"spirals that seemed to sink into the wood rather than rest upon it"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1044
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences84
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs35
mean29.83
std19.1
cv0.64
sampleLengths
059
160
254
35
456
529
661
758
834
91
109
115
1256
134
1429
1542
167
1732
1848
1915
202
2155
2233
2330
2417
2531
2627
2742
2820
2938
3013
3125
3218
3320
349
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences82
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs202
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences84
ratio0
matches(empty)
97.25% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1043
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.04314477468839885
lyAdverbCount6
lyAdverbRatio0.005752636625119847
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences84
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences84
mean12.43
std7.24
cv0.582
sampleLengths
013
114
28
324
415
523
622
73
89
919
1023
115
1219
1325
1412
153
1611
178
187
194
2012
2117
2228
233
2431
2514
2610
276
289
295
301
3113
321
339
345
359
3613
3711
387
3916
404
412
4213
4314
4414
4521
467
477
4810
4922
73.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.47619047619047616
totalSentences84
uniqueOpeners40
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences79
matches
0"Dead black screen, though she'd"
1"Only flowers swaying in silent"
2"Then she heard breathing."
3"Too slow, too wet, like"
4"Too tall, bending at angles"
5"Then, from directly in front,"
ratio0.076
98.48% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences79
matches
0"She pulled free with a"
1"She'd come for a misdelivered"
2"She pushed forward."
3"She hadn't known one lurked"
4"She checked her phone."
5"Her watch had stopped at"
6"She turned slowly."
7"She said it aloud, voice"
8"She pressed her back to"
9"She told herself geothermal heat,"
10"She was cool-headed, intelligent, quick"
11"It came from everywhere, echoing"
12"Her left wrist itched, the"
13"Her mouth went dry."
14"She reached for her phone,"
15"She needed to run, but"
16"She broke paralysis first."
17"She tripped over a root"
18"She clawed it out, silver"
19"Its head snapped towards the"
ratio0.304
80.25% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount60
totalSentences79
matches
0"Rory's boot sank into mud"
1"The ground should have been"
2"She pulled free with a"
3"The Heartstone pendant beneath her"
4"She'd come for a misdelivered"
5"The address had led her"
6"She pushed forward."
7"Thorns scratched her palms, leaving"
8"The smell hit her then,"
9"The clearing opened without warning."
10"Petals trembled though the air"
11"Rory stepped closer."
12"The pendant burned now, deep"
13"She hadn't known one lurked"
14"She checked her phone."
15"Her watch had stopped at"
16"She turned slowly."
17"The stones stood near three"
18"Wildflowers covered every inch inside"
19"Something about the way they"
ratio0.759
63.29% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences79
matches
0"Now the path behind her"
ratio0.013
30.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount8
matches
0"Rory's boot sank into mud that had no right existing in Richmond Park."
1"The Heartstone pendant beneath her coat throbbed against her collarbone, hot and insistent, like a second heart that had forgotten whose chest it owned."
2"The smell hit her then, jasmine layered over something sweeter, something that made her teeth ache with each breath."
3"Too tall, bending at angles that made her eyes water."
4"Stars arranged in patterns that hurt to parse, some sliding slowly across black in directions that mocked physics, leaving faint greenish trails like dying phos…"
5"The breathing pressed against her neck, hot and rancid, carrying syllables that twisted her name through water."
6"The shape loomed, featureless except for eyes reflecting her own terrified face, bright blue irises staring back from a face that had none."
7"She clawed it out, silver chain biting her palm, holding it up like a ward she didn't understand."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
91.9154%