Run: 2026-07-25-01KYD56JHN4044HBHV03NH5577

Run Details

Duration:
1m 26s
Cost:
$0.031820
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 torch beam caught the standing stone before Rory caught the stone's shadow, and that was the first wrong thing, because the shadow pointed the wrong way. She lowered the torch. Raised it. The ancient oak trunk of the stone, grey and twisted and older than anything had a right to be, sat bathed in light from the south-east. Its shadow lay long across the wildflowers, pointing south-east too. Towards her. Shadows did not do that. "Lovely," she muttered, because saying something, anything, kept the silence from settling on her like a hand. Richmond Park had closed at dusk. She had climbed the fence near the Robin Hood Gate an hour after, rucksack on her back, Eva's instructions folded into her jacket pocket. *The clearing past the oak boundary. Bring the pendant. Don't speak to anything that speaks first.* Eva's handwriting, Eva's madness, and yet here Rory stood, because the things she had seen in the last fortnight had burned the word *madness* out of her vocabulary. The Heartstone hung warm against her sternum. It had been warm since the gate. Now, stepping between two of the standing stones, it turned hot. She hissed and pulled the silver chain away from her skin. The crimson stone, no bigger than her thumbnail, glowed faintly in the dark, a coal's heartbeat. Pulse. Pulse. It had never done that before. Not in the flat above Silas' bar, not on the delivery runs, not anywhere. The pendant pulsed near a Hel portal. Yu-Fei had told her that, in that flat, careful voice of his, and Rory had laughed at the time. She was not laughing now. The clearing opened ahead of her, and she stopped at its edge. Wildflowers. Everywhere. Bluebells and poppies and pale things she could not name, blooming in October, blooming at midnight, their faces turned up to a moon she could not see through the canopy. The air smelled of summer, thick and green and sweet, and underneath it, faintly, something else. Something mineral. Wet stone. A cellar smell. She crossed the clearing slowly, torch off now, because the flowers gave off their own faint pallor and the light made her feel visible. Fifty paces across. She counted them. At thirty-one, she heard the singing. Not singing. Not quite. A thread of sound, high and thin, like a wet finger round a wineglass rim, coming from everywhere and nowhere. It rose and fell in a pattern that almost made sense, almost resolved into melody, and the almost was worse than anything. Her hindbrain kept reaching for the tune and missing, and each miss sent a small cold shock down her arms. She stood still and listened. The sound did not get closer. It did not get further. It simply continued, patient as erosion. "Not speaking to anything that speaks first," she whispered. "Easy. Done." At the centre of the clearing stood the oldest stone, a gnarled monolith of petrified oak, and at its base lay the reason she had come. She knew it before she saw it, the way you know a tooth is loose before your tongue finds it. A hollow. A dark, root-choked hollow at the stone's base, wide as a doorway lying on its side, and the cellar smell poured out of it like breath. The Heartstone's pulse quickened. She could feel it against her chest now like a second heart, out of rhythm with her own. Eva's note said the book would be *at the root of the eldest*. Eva's note said *in and out, Rory, ten minutes, the Grove keeps its own hours so don't dawdle*. Rory crouched at the hollow's lip and shone the torch down. Roots. Deep, dark, going further than the beam. And something pale caught between two of them, three feet down. Leather binding. Gold corner. "There you are." She lay flat on the flowers, crushed sweetness rising around her, and reached into the hollow. The earth inside was warm. That stopped her hand for a moment. Earth at midnight in October had no business being warm. It was warm like skin. Like the soil had a fever. Her fingers closed on the book's spine. Something in the dark below her hand exhaled. She froze. Every muscle. The breath moved across her knuckles, damp and slow, and it had a rhythm to it, the rhythm of a sleeper, of something large and comfortable and not yet aware of her. The singing had stopped. She noticed its absence the way you notice a fridge switching off, a hole in the world where sound used to be. Slowly. Slowly. She drew the book up an inch. The roots did not move. Another inch. The thing below breathed in, breathed out, and the breath smelled of stone dust and standing water and, beneath that, cloyingly, of the wildflowers above, as though the clearing's sweetness had only ever been this thing's breath rising up through the soil. The book came free of the roots with a soft, reluctant sound, like a bandage off a wound. She pulled it out and rolled away and got to her feet in one motion, the way Eva had drilled into her, and that was when she saw the flowers. All of them. Every flower in the clearing. Turned towards her. Not tilted by wind. There was no wind. Their pale faces had swung to her while she lay in the dark, soundlessly, a field of small attention. She turned on the spot. They followed. She watched them do it, a slow, rippling reorientation, like iron filings answering a magnet. "Nope," she said, with enormous feeling. She walked. Fast, not running, because running felt like an admission and she did not want anything here reading her admissions. The boundary stones stood thirty paces off, black against the lesser black of the treeline. The book sat heavy under her arm. The pendant had gone from warm to painful, a coal pressed to her chest, and its light leaked through her jacket in crimson pulses. Twenty paces. The singing resumed. Closer now, and wronger, because it had found its melody, and the melody was a lullaby. She knew the tune. Her mother had hummed it in the kitchen in Cardiff, a Welsh thing, old, about a child sleeping. Jennifer Carter had been dead eleven months. Rory's stride faltered. Just once. One step. *Don't dawdle.* Ten paces. The lullaby gained a voice, low and fond, and the voice knew the words her mother had always half-mumbled, the ones Rory had never learned, and it sang them perfectly. Five paces. The boundary stones. The dark between them looked ordinary. Looked like park. Looked like the way out. She stepped between them, and the clearing exhaled behind her, and the singing stopped mid-word, cut off like a radio unplugged, and in the silence she heard, clearly and closely, from the black hollow at the eldest stone's base, a long and thoughtful inhalation. Something down there had woken up. She ran. The treeline came at her in ragged torchlit sweeps, branches raking her face, and she did not look back until the fence, until the cold iron of the Robin Hood Gate was under her hands and she was over it, dropping onto tarmac, ordinary tarmac, a fox bolting from a bin fifty yards off, a night bus sighing somewhere down the road. She stood bent double, hands on knees, the book clutched to her chest. The pendant cooled against her skin. Pulse slowing. Going dark. Safe. Out. Done. She checked her phone out of habit, thumb leaving a smear of earth on the screen, and stared at the date. She had gone over the fence on the fourteenth of October. The phone said the seventeenth. Three days. She had been in the Grove for twenty minutes. "Time moves differently," she whispered, and laughed, a cracked little sound, and stopped laughing, because her phone showed forty-one missed calls, and the most recent voicemail was from Eva, timestamped eleven minutes ago, and Eva, who never sounded frightened, sounded frightened. Rory raised the phone to her ear. "Rory, thank God, where have you *been*?" A breath, ragged. Traffic noise. Running footsteps. "Listen to me. Don't go home. The flat, it's been, Rory, there's someone in your flat, I saw the light on, I saw someone at your window, and Rory, it was *you*. It's wearing you. It's wearing your face and it keeps waving at me." Behind her, on the other side of the fence, from deep in the black park, a lullaby began again, sweet and low, drifting through the bars.
created_at"2026-07-25T17:29:37.598Z" 7/25/2026, 5:29:37 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3579
moderation_latency(null)
generation_time85804
tokens_prompt4387
tokens_completion2221
native_tokens_prompt4178
native_tokens_completion2023
native_tokens_completion_images(null)
native_tokens_reasoning146
native_tokens_cached4096
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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usage0.0318198
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provider_responses
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endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64f27057a7533566c157f0"
is_byokfalse
latency3579
model_permaslug"moonshotai/kimi-k3-20260715"
provider_name"Moonshot AI"
status200
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total_cost0.0318198
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data_region"global"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
86.05% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1434
totalAiIsmAdverbs4
found
0
adverb"slowly"
count3
1
adverb"perfectly"
count1
highlights
0"slowly"
1"perfectly"
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)
58.16% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1434
totalAiIsms12
found
0
word"silence"
count2
1
word"pulse"
count4
2
word"pulsed"
count1
3
word"resolved"
count1
4
word"quickened"
count1
5
word"could feel"
count1
6
word"comfortable"
count1
7
word"footsteps"
count1
highlights
0"silence"
1"pulse"
2"pulsed"
3"resolved"
4"quickened"
5"could feel"
6"comfortable"
7"footsteps"
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
narrationSentences136
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount0
narrationSentences136
filterMatches
0"feel"
1"know"
2"notice"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences139
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen62
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans7
markdownWords42
totalWords1434
ratio0.029
matches
0"The clearing past the oak boundary. Bring the pendant. Don't speak to anything that speaks first."
1"madness"
2"at the root of the eldest"
3"in and out, Rory, ten minutes, the Grove keeps its own hours so don't dawdle"
4"Don't dawdle."
5"been"
6"you"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount1356
uniqueNames17
maxNameDensity0.59
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Eva"
discoveredNames
Rory8
Richmond1
Park1
Robin2
Hood2
Gate2
Eva8
Heartstone2
Hel1
October3
Grove2
Cardiff1
Welsh1
Carter1
Ten1
Traffic1
Pulse3
persons
0"Rory"
1"Robin"
2"Hood"
3"Gate"
4"Eva"
5"Heartstone"
6"Carter"
7"Pulse"
places
0"Richmond"
1"Park"
2"Hel"
3"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount1
matches
0"felt like an admission and she did not"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1434
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences139
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs45
mean31.87
std22.71
cv0.713
sampleLengths
027
149
217
374
425
549
626
75
867
936
1066
1122
1211
1374
1422
1565
163
1749
187
198
2062
2158
2218
2330
2411
2549
266
2767
2850
297
302
3132
3219
3344
346
352
3662
3723
383
3921
4027
4141
427
4359
4426
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences136
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs208
matches
0"was not laughing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences139
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount288
adjectiveStacks0
stackExamples(empty)
adverbCount5
adverbRatio0.017361111111111112
lyAdverbCount1
lyAdverbRatio0.003472222222222222
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences139
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences139
mean10.32
std10.93
cv1.059
sampleLengths
027
14
22
326
410
52
65
717
86
924
106
113
1235
137
147
1511
1611
1716
181
191
206
2114
227
2319
245
2512
261
271
2830
2916
302
312
323
3324
343
353
366
372
382
3920
4022
4120
425
436
445
456
469
472
4826
4920
65.47% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.45323741007194246
totalSentences139
uniqueOpeners63
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences99
matches(empty)
ratio0
78.59% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences99
matches
0"She lowered the torch."
1"Its shadow lay long across"
2"she muttered, because saying something,"
3"She had climbed the fence"
4"It had been warm since"
5"She hissed and pulled the"
6"It had never done that"
7"She was not laughing now."
8"She crossed the clearing slowly,"
9"She counted them."
10"It rose and fell in"
11"Her hindbrain kept reaching for"
12"She stood still and listened."
13"It did not get further."
14"It simply continued, patient as"
15"She knew it before she"
16"She could feel it against"
17"She lay flat on the"
18"It was warm like skin."
19"Her fingers closed on the"
ratio0.354
55.96% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences99
matches
0"The torch beam caught the"
1"She lowered the torch."
2"The ancient oak trunk of"
3"Its shadow lay long across"
4"Shadows did not do that."
5"she muttered, because saying something,"
6"Richmond Park had closed at"
7"She had climbed the fence"
8"*The clearing past the oak"
9"The Heartstone hung warm against"
10"It had been warm since"
11"She hissed and pulled the"
12"The crimson stone, no bigger"
13"It had never done that"
14"The pendant pulsed near a"
15"Yu-Fei had told her that,"
16"She was not laughing now."
17"The clearing opened ahead of"
18"Bluebells and poppies and pale"
19"The air smelled of summer,"
ratio0.808
50.51% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences99
matches
0"Now, stepping between two of"
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount2
matches
0"Don't speak to anything that speaks first.* Eva's handwriting, Eva's madness, and yet here Rory stood, because the things she had seen in the last fortnight had…"
1"The thing below breathed in, breathed out, and the breath smelled of stone dust and standing water and, beneath that, cloyingly, of the wildflowers above, as th…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
2"she whispered (whisper)"
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0.75
effectiveRatio0.75
86.4910%