Run: 2026-07-25-01KYD4SBWPY2EX6CHMGJR42ZEZ

Run Details

Duration:
1m 29s
Cost:
$0.044079
Provider:
Moonshot AI

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 fence gave under her weight and Rory dropped into the park on the wrong side of the law, landing hard enough to jar her teeth. She stayed crouched. Listened. Nothing came for her, no dogs, no keeper's torch, only the slow tick of the fence settling back on its hinges. Somewhere behind her, beyond the wall, London hummed its endless low hum. Ahead lay Richmond Park, six hundred acres of black grass and older dark, and somewhere inside it the thing that had been pulling her pendant like a fishhook for three days. She stood and wiped her palms on her jeans. The Heartstone sat against her sternum, warm as a held coin. It had been cold all afternoon, cold on the bus, cold down the long road from the gate. Then, fifty yards back, it had woken. "Right," she said to nobody. Saying things aloud kept her thoughts in order. "You dragged me out here. Now what?" The pendant gave no opinion. She flicked on her torch and started walking. The path she wanted wasn't on any map. Eva had described it once, laughing, the way you describe a dream: past the plantation, off towards the old oaks, there's a place where the flowers don't care what month it is. Eva had gone missing three weeks ago, and the police file had closed with the phrase no suspicious circumstances, and Rory had stopped sleeping properly somewhere around week one. Grass hissed against her boots. The torch beam found bracken, a deer's pale flanks vanishing between trunks, the glint of one watching eye and then nothing. She kept the beam low. Her phone read 11.41. It had read 11.41 when she climbed the fence. She stared at it until the numbers refused to change, then put it away and didn't think about it. She found the first stone by walking into it. Her shin cracked against granite and she bit back the word that wanted out. The torch showed her a slab of old oak-grey rock, shoulder height, leaning like a drunk against the dark. Moss in the crevices. Carving too worn to read. Eva's description came back to her, suddenly precise: they stand in a ring, Rory, like teeth. Like teeth. The pendant pulsed. Once. A heartbeat that wasn't hers. She stepped around the stone and the air changed. It was subtle and it wasn't. The park had smelled of wet grass and deer. Here it smelled of honey and turned earth and, faintly underneath, something sweet gone wrong, like fruit at the bottom of the bowl. Wildflowers starred the clearing in clusters, pale heads lifted, and her brain offered the word for them one beat too late. Snowdrops. Bluebells. Foxglove. They didn't grow together. None of them grew in this season. Every head she passed had turned towards her, and when she stopped walking, she heard it, soft as paper tearing: the small sound of stems adjusting. "Flowers turn towards light," she said. Her voice came out thin. "That's all that is. Phototropism. Look it up." The torch flickered. She smacked it against her palm and it steadied, and in the half-second of darkness she had heard humming. Now, in the light, silence. She stood very still and waited for it to come back, and it did, and her whole body understood it before her mind caught up. A tune. A woman's tune, low and unhurried, the kind you hum while doing washing-up. It came from everywhere the way rain comes from everywhere. She knew the tune. Eva used to hum it. A nonsense thing from a Welsh telly programme they'd watched as children, something Jennifer Carter had sung while burning toast. "Eva?" The humming didn't stop. It went on, patient, giving her time to be afraid. Rory walked towards it because walking away meant the fence and the road and the file that said no suspicious circumstances, and she'd come too far on too little sleep for that. The stones rose around her as she went deeper, seven, eight, nine of them, a ring of leaning grey teeth, and the clearing inside held light that had no source. Not moonlight. Moonlight has a direction. This light simply was, the way light exists in dreams, and her torch beam died into it like a stick into deep water. She switched the torch off. Her hand had started to shake, so she wrapped her fingers around the Heartstone instead. It was hot now. Not warm. Hot, the edge of burning, and it pulsed in a rhythm that matched the humming, and she understood with the clean cold clarity of a dropped glass that the pendant wasn't reacting to this place. It was answering it. "Eva, I swear to God, if this is you messing about, I'll kill you myself." The humming stopped. Silence landed. Total. No deer, no wind, no London hum, as if the world beyond the stones had been switched off at the wall. In that silence a flower at her feet, a fat white foxglove, turned its bell directly up towards her face, and from inside the bell came a voice the size of a fingernail. "Rory." She didn't scream. She was proud of that later, the small stupid fact of it. She stepped back, and her heel came down on something that crunched like frost, and when she looked the ground behind her was white with flowers where, a breath ago, there had been bare earth. A path of them. Leading to her. A trail that had grown itself quietly while she watched the clearing. "Rory, Rory, Rory." More bells joining. Foxgloves ringing her name like a congregation warming up. Not Eva's voice now. Her mother's. Her father's. The delivery manager at the Golden Empress. Evan's. Evan's was the worst, and her wrist ached where the old scar sat, a small pale crescent remembering the flat in Cardiff and the man she'd crossed a country to escape. They knew everyone. They had everyone in storage. "That's not how you get me to stay," she said, and her voice was steady and that surprised her. The bells went quiet. All at once, obedient, like a choir cut off by a raised hand. Then, from beyond the far stones, the humming began again. Eva's tune. But wrong now, stretched, each note held a beat too long, the way a recording sounds when the battery dies. And between the two largest oaks, where the dream-light thinned into honest dark, something unfolded itself from the trunk. It had been the trunk. That was the horror of it, clean and simple: it had been standing there the whole time, bark-skinned and patient, and now it stepped out of itself like a man stepping out of a coat. It was tall in the way doorways are tall. Its face had features the way a knotted root has a face, if you're tired, if you want it to. It opened its mouth and Eva's voice came out, perfect, fond, fifteen years of friendship in three syllables. "You came." The pendant seared her skin and Rory gasped, and the thing tilted its head at the sound, curious as a bird. Around the clearing the standing stones groaned in their sockets, and she watched, stupidly, uselessly, as the gap she'd entered through began to narrow, earth and root and leaning granite knitting themselves shut like a mouth. "Eva was never here, was she?" The thing smiled with her best friend's smile. "She was bait," it said, in her own voice. "You always did run towards her. Even across a country. Even into the ground." Behind her, the last gap in the stones closed with a sound like a book slamming shut, and the foxglove bells all rang at once, and every single one of them was laughing.
created_at"2026-07-25T17:22:24.799Z" 7/25/2026, 5:22:24 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3547
moderation_latency(null)
generation_time89419
tokens_prompt4387
tokens_completion2346
native_tokens_prompt4178
native_tokens_completion2103
native_tokens_completion_images(null)
native_tokens_reasoning439
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)
usage0.044079
router(null)
provider_responses
0
endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64f0bf8611480fa8ef3efa"
is_byokfalse
latency3547
model_permaslug"moonshotai/kimi-k3-20260715"
provider_name"Moonshot AI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.18.0; linux; x64))"
http_referer(null)
request_id"req-1785000144-3e3fKJy1thlex9FYwHp2"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1785000144-okUC95Vap8Sr7jeFptaa"
upstream_id"chatcmpl-6a64f0bf8611480fa8ef3efa"
total_cost0.044079
cache_discount(null)
upstream_inference_cost0
provider_name"Moonshot AI"
response_cache_source_id(null)
data_region"global"

Evaluation details

Result Evaluator Details Meta Data
46.15% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount1
adverbTags
0"More bells joining [More]"
dialogueSentences13
tagDensity0.385
leniency0.769
rawRatio0.2
effectiveRatio0.154
92.33% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1304
totalAiIsmAdverbs2
found
0
adverb"suddenly"
count1
1
adverb"very"
count1
highlights
0"suddenly"
1"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)
61.66% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1304
totalAiIsms10
found
0
word"weight"
count1
1
word"flicked"
count1
2
word"glint"
count1
3
word"pulsed"
count2
4
word"flickered"
count1
5
word"silence"
count3
6
word"perfect"
count1
highlights
0"weight"
1"flicked"
2"glint"
3"pulsed"
4"flickered"
5"silence"
6"perfect"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences107
matches
0"was proud"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences107
filterMatches(empty)
hedgeMatches
0"started to"
1"try to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences115
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1304
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount1231
uniqueNames14
maxNameDensity0.57
worstName"Eva"
maxWindowNameDensity1.5
worstWindowName"Eva"
discoveredNames
Rory5
London2
Richmond1
Park1
Heartstone2
Saying1
Welsh1
Jennifer1
Carter1
Foxgloves1
Eva7
Golden1
Empress1
Cardiff1
persons
0"Rory"
1"Heartstone"
2"Jennifer"
3"Carter"
4"Foxgloves"
5"Eva"
places
0"London"
1"Richmond"
2"Park"
3"Golden"
4"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences60
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1304
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences115
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs41
mean31.8
std26.62
cv0.837
sampleLengths
026
168
245
320
413
569
663
79
858
92
109
1168
123
1337
1419
153
1674
1729
181
1914
2091
2161
224
2315
243
2557
261
2769
2862
298
3019
3117
3251
3369
3418
352
3657
376
388
3923
4033
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences107
matches
0"been switched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs215
matches
0"wasn't reacting"
1"was answering"
2"was laughing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences115
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1236
adjectiveStacks1
stackExamples
0"old oak-grey rock,"
adverbCount43
adverbRatio0.03478964401294499
lyAdverbCount10
lyAdverbRatio0.008090614886731391
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences115
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences115
mean11.34
std9.85
cv0.868
sampleLengths
026
13
21
321
412
531
69
711
818
97
105
118
127
135
148
158
1632
1729
185
1921
205
214
229
2319
249
2514
2619
274
285
2916
302
313
321
335
349
356
369
3723
3821
391
401
411
424
437
4426
456
465
478
483
4919
62.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.41739130434782606
totalSentences115
uniqueOpeners48
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences91
matches
0"Somewhere behind her, beyond the"
1"Then, fifty yards back, it"
2"More bells joining"
3"Then, from beyond the far"
ratio0.044
66.15% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences91
matches
0"She stayed crouched."
1"She stood and wiped her"
2"It had been cold all"
3"she said to nobody"
4"She flicked on her torch"
5"She kept the beam low."
6"Her phone read 11.41."
7"It had read 11.41 when"
8"She stared at it until"
9"She found the first stone"
10"Her shin cracked against granite"
11"She stepped around the stone"
12"It was subtle and it"
13"They didn't grow together."
14"Her voice came out thin."
15"She smacked it against her"
16"She stood very still and"
17"It came from everywhere the"
18"She knew the tune."
19"It went on, patient, giving"
ratio0.385
58.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences91
matches
0"The fence gave under her"
1"She stayed crouched."
2"Nothing came for her, no"
3"She stood and wiped her"
4"The Heartstone sat against her"
5"It had been cold all"
6"she said to nobody"
7"The pendant gave no opinion."
8"She flicked on her torch"
9"The path she wanted wasn't"
10"Eva had described it once,"
11"Eva had gone missing three"
12"Grass hissed against her boots."
13"The torch beam found bracken,"
14"She kept the beam low."
15"Her phone read 11.41."
16"It had read 11.41 when"
17"She stared at it until"
18"She found the first stone"
19"Her shin cracked against granite"
ratio0.802
54.95% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences91
matches
0"Now, in the light, silence."
ratio0.011
59.80% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount5
matches
0"Ahead lay Richmond Park, six hundred acres of black grass and older dark, and somewhere inside it the thing that had been pulling her pendant like a fishhook fo…"
1"Rory walked towards it because walking away meant the fence and the road and the file that said no suspicious circumstances, and she'd come too far on too littl…"
2"The stones rose around her as she went deeper, seven, eight, nine of them, a ring of leaning grey teeth, and the clearing inside held light that had no source."
3"Hot, the edge of burning, and it pulsed in a rhythm that matched the humming, and she understood with the clean cold clarity of a dropped glass that the pendant…"
4"She stepped back, and her heel came down on something that crunched like frost, and when she looked the ground behind her was white with flowers where, a breath…"
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"she said, and her voice was steady and that surprised her"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences13
tagDensity0.308
leniency0.615
rawRatio0
effectiveRatio0
87.3850%