Run: 2026-07-25-01KYD5XEBJW182CX9RYXBAPBGM

Run Details

Duration:
1m 13s
Cost:
$0.027950
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 third time the path bent left when it should have bent right, Aurora stopped walking. She stood among the bracken with her phone torch raised, breath pluming white, and turned in a slow circle. Richmond Park at night held no shortage of black. It pooled between the oaks, thickened in the hollows, and her little blade of light did nothing against it except make the dark beyond look deliberate. "Right," she said, mostly to hear a voice that belonged to her. "Left, then. Like the last two lefts." The pendant against her sternum gave a pulse of warmth. It had been doing that since the gates, a soft rhythmic heat, like a second heartbeat worn on a chain. She had found it on her doorstep three days ago, no note, no name, wrapped in brown paper that smelled faintly of peat smoke. The crimson stone, no bigger than her thumbnail, had an inner glow she kept telling herself was just good gem cutting. Then tonight it had started beating, and her feet had carried her out of the flat above Silas' bar, across a sleeping city, to here. She told herself she had come for answers. Her feet told a different story. Her feet had been walking of their own accord since the park gate, which had stood open at half past midnight when the sign clearly said locked at dusk. The bracken crunched under her boots. Then it crunched again, a half-beat late, when she had already stopped. Aurora went still. The echo did not repeat itself. The park offered up its ordinary night sounds instead: wind worrying the dry ferns, something small ticking through the leaf litter, the distant arterial hum of the city beyond the trees. She counted to twenty. Nothing limped out of the dark to claim her, so she walked on, and this time she listened. Her footsteps. Her footsteps. Hers, and then the faintest ghost of a second set, placed so carefully inside the rhythm of her own that she could only catch it when she changed pace. She sped up. It sped up. She slowed. It slowed. She stopped dead and it stopped with her, so precisely matched that the silence afterwards felt rehearsed. "Wind," she said. The wind, obligingly, said nothing. The oaks changed as she went deeper. That was the only way she could describe it later, if there was a later. They grew taller than any oak in Richmond had a right to grow, their trunks wide as cars, their canopies knitting overhead until the sky went away altogether. Her phone torch guttered. She shook it, and the beam came back thinner, the battery indicator dropping from forty per cent to nine while she watched. Then the trees ended, all at once, like a sentence interrupted. She stood at the edge of a clearing ringed by standing stones. Oak stones, she saw as her dying light swept across them, ancient trunks petrified upright into grey, bark-ridged pillars, twice her height, leaning inward like elders conferring. Beyond them, wildflowers. Whole drifts of them, pale in the torchlight, blooming in October as though October had never been invented. The pendant went from warm to hot. She hissed and pulled the chain away from her skin, and the stone swung free, glowing, actually glowing, a deep sullen red like a coal breathed on. "Alright," she whispered. "You're warm. You pulse. I'm here. Now what?" The clearing answered by being quieter than anywhere she had ever stood. No wind. No ticking in the litter. No city hum. The silence had texture, a held-breath quality, and the longer she stood in it the more certain she became that it was not absence of sound. It was sound withheld. Something listening so hard it had stopped the world to hear her better. She should leave. She catalogued that thought with the cool, lawyerly part of her mind that Evan had never managed to beat out of her. Exit assessment: the path behind, five minutes of oak, the gate, the road, a bus, her flat, the lock on her door. Simple. She even turned to go. Her shadow turned first. She caught it at the very edge of vision, a fraction of movement that her body had not yet performed. When she whipped the torch round, her shadow lay where it should, long and obedient across the flowers. But it had been ahead of her. She was sure of it. It had turned towards the stones a half-second before she did, like a dog straining at a lead. The phone died. Darkness came down whole. Aurora stood very still in it, breathing through her nose, and discovered that the clearing was not dark at all. The flowers gave off a faint luminescence, the colour of moonlight on bone, and the pendant cast its red pulse over her hands. Between the two glows she could see the stones, and she could see that there were eleven of them. She had counted twelve when the torch was alive. She counted again, slowly, moving her lips. Eleven. She walked the perimeter, keeping to the edge of the flowers, counting aloud in a whisper. Eleven. The twelfth gap sat at the far side of the clearing, a space between two leaning stones just the width of a standing stone, floored with flowers that lay flat as if recently trodden. The warmth of the pendant had become a rhythm she recognised. It was not beating like a heart. It was beating like a knock. Two slow, two quick. A pattern. An answer expected. Somewhere behind her, a footstep landed. Not hidden in her rhythm now. Separate. Unhurried. On grass. Aurora did not turn round. Cool-headed, Eva always called her, and she clung to that like a handrail, though her pulse hammered hard enough to shake the pendant's light on the ground. She looked instead at the gap between the stones, at the flattened flowers, and understood, with a clarity that arrived like cold water, that the twelfth stone had not gone anywhere. It had stood up. Another step. Closer. The flowers at the clearing's edge bent under nothing she could see, a line of them pressing down one after another, a slow approach written in their stems. The red glow of the Heartstone flared so bright she saw her own shadow thrown clear across the clearing, and in front of her shadow, falling across the same ground, there was a second one now. Tall. Antlered, or perhaps that was only the shape of the branches it carried. It had stopped moving because it did not need to move any more. "Rory," it said, in her father's voice. Her father, who had died in a Cardiff hospital four years ago with her hand in his. "Pet. You've come a long way." She knew better. God, she knew better. Every fairy tale her mother had ever read her by lamplight in the old house on Cathedral Road had this exact moment in it, and the rule was always the same. Don't turn round. The pendant knocked against her chest, two slow, two quick, urgent now, and from the gap between the stones came a sound like a vast door, somewhere underground, swinging open on the first half of its hinge. "You've brought it home," said her father's voice, pleased, and she heard the wet click of it smiling. "Clever girl. Now bring it the rest of the way." The flowers around her boots began, one by one, to turn their faces towards her.
created_at"2026-07-25T17:42:06.972Z" 7/25/2026, 5:42:06 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3183
moderation_latency(null)
generation_time73346
tokens_prompt4387
tokens_completion1964
native_tokens_prompt4178
native_tokens_completion1765
native_tokens_completion_images(null)
native_tokens_reasoning171
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"
service_tier(null)
usage0.0279498
router(null)
provider_responses
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endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64f5701d1ef05f1f90b587"
is_byokfalse
latency3183
model_permaslug"moonshotai/kimi-k3-20260715"
provider_name"Moonshot AI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.18.0; linux; x64))"
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request_id"req-1785001326-Iv7qKktc5uZBczw3ZnBR"
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api_type"completions"
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upstream_id"chatcmpl-6a64f5701d1ef05f1f90b587"
total_cost0.0279498
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upstream_inference_cost0
provider_name"Moonshot AI"
response_cache_source_id(null)
data_region"global"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences9
tagDensity0.667
leniency1
rawRatio0
effectiveRatio0
80.16% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1260
totalAiIsmAdverbs5
found
0
adverb"carefully"
count1
1
adverb"precisely"
count1
2
adverb"very"
count2
3
adverb"slowly"
count1
highlights
0"carefully"
1"precisely"
2"very"
3"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)
48.41% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1260
totalAiIsms13
found
0
word"pulse"
count4
1
word"warmth"
count2
2
word"rhythmic"
count1
3
word"echo"
count1
4
word"footsteps"
count2
5
word"silence"
count2
6
word"whisper"
count1
highlights
0"pulse"
1"warmth"
2"rhythmic"
3"echo"
4"footsteps"
5"silence"
6"whisper"
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
narrationSentences103
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences103
filterMatches(empty)
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences107
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1260
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions15
wordCount1213
uniqueNames10
maxNameDensity0.33
worstName"Aurora"
maxWindowNameDensity1
worstWindowName"Aurora"
discoveredNames
Aurora4
Park1
Richmond2
October2
Evan1
Eva1
Heartstone1
Cardiff1
Cathedral1
Road1
persons
0"Aurora"
1"Evan"
2"Eva"
3"Heartstone"
places
0"Park"
1"Richmond"
2"Cardiff"
3"Cathedral"
4"Road"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences63
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1260
matches(empty)
10.90% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount5
totalSentences107
matches
0"own that she"
1"matched that the"
2"became that it"
3"catalogued that thought"
4"discovered that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs35
mean36
std27.64
cv0.768
sampleLengths
016
154
219
3100
443
518
63
759
860
93
105
1176
1211
1360
1434
1511
1665
1753
184
1968
203
2166
229
2359
2433
2516
2663
274
2894
2930
3038
313
3237
3328
3415
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences103
matches
0"been invented"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs201
matches
0"was not beating"
1"was beating"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences107
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount193
adjectiveStacks0
stackExamples(empty)
adverbCount7
adverbRatio0.03626943005181347
lyAdverbCount2
lyAdverbRatio0.010362694300518135
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences107
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences107
mean11.78
std9.75
cv0.828
sampleLengths
016
119
29
326
412
57
610
720
824
921
1025
118
126
1329
146
1512
163
176
1831
194
2018
212
222
2329
243
253
262
272
2817
293
305
317
3215
3328
344
3522
3611
3712
3827
393
4018
417
4227
433
448
4512
462
475
483
4926
62.93% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.4392523364485981
totalSentences107
uniqueOpeners47
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences86
matches
0"Then tonight it had started"
1"Then it crunched again, a"
2"Then the trees ended, all"
3"Somewhere behind her, a footstep"
ratio0.047
47.91% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences86
matches
0"She stood among the bracken"
1"It pooled between the oaks,"
2"she said, mostly to hear"
3"It had been doing that"
4"She had found it on"
5"She told herself she had"
6"Her feet told a different"
7"Her feet had been walking"
8"She counted to twenty."
9"Hers, and then the faintest"
10"She sped up."
11"It sped up."
12"She stopped dead and it"
13"They grew taller than any"
14"Her phone torch guttered."
15"She shook it, and the"
16"She stood at the edge"
17"She hissed and pulled the"
18"It was sound withheld."
19"She should leave."
ratio0.43
64.65% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount68
totalSentences86
matches
0"The third time the path"
1"She stood among the bracken"
2"Richmond Park at night held"
3"It pooled between the oaks,"
4"she said, mostly to hear"
5"The pendant against her sternum"
6"It had been doing that"
7"She had found it on"
8"The crimson stone, no bigger"
9"She told herself she had"
10"Her feet told a different"
11"Her feet had been walking"
12"The bracken crunched under her"
13"Aurora went still."
14"The echo did not repeat"
15"The park offered up its"
16"She counted to twenty."
17"Nothing limped out of the"
18"Hers, and then the faintest"
19"She sped up."
ratio0.791
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences86
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount1
matches
0"The twelfth gap sat at the far side of the clearing, a space between two leaning stones just the width of a standing stone, floored with flowers that lay flat a…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences9
tagDensity0.556
leniency1
rawRatio0.2
effectiveRatio0.2
85.4987%