Run: 2026-07-25-01KYD71K1TJ1K4E00S6HSPVKH5

Run Details

Duration:
1m 19s
Cost:
$0.030275
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 pendant was burning against her sternum, and that was wrong, because it had never done that before. Rory stopped dead between the standing stones. Her breath plumed in the air, though the wildflowers at her feet swayed as if in some private summer. Two worlds, one clearing. She had known the Grove was strange the first time Eva showed it to her. She had not known it could be *hungry*. She pressed a thumb against the Heartstone through her shirt. Warm. Pulsing. A slow rhythm, like something sleeping, or something pretending to sleep. "Brilliant," she muttered. "Couldn't leave it in a drawer, could you." But that was the thing. She had left it in a drawer. She had come home from the Golden Empress at half eleven, opened her sock drawer for fresh socks, and found the pendant sitting on top of them, silver chain coiled like a question mark. Her flat door had been locked. Her windows latched. And the pendant had been warm then, too. So here she was, in Richmond Park at one in the morning, because the stone only behaved oddly near the Grove, and because she wanted answers before she told anyone she was frightened. Especially Eva. Eva would make it a thing. Rory stepped past the last oak standing stone, and the city fell silent. That was normal. That was the Grove. Traffic on the A307, the distant hum of Heathrow flight paths, all of it vanished the moment you crossed the boundary. She had learned to expect the hush. She had not learned to expect the hush to have a *texture*. Tonight it sat against her eardrums like water. The clearing lay ahead, ringed by wildflowers that glowed faintly blue in the dark. Foxgloves. Cow parsley. Things that had no business blooming in November, thriving as though November were a rumour. The grass gave softly under her trainers. Too softly. Like walking on the roof of a mouth. She took her phone out. Torch on. The beam carved a pale tunnel through the dark and died about four metres in, as if the dark had weight. "Right," she said, because the silence needed puncturing. "You wanted me here. I'm here." She felt foolish immediately. Then she felt something else, a tightening at the base of her skull, and the foolishness drained away. The pendant's pulse quickened against her chest. Rory crouched at the centre of the clearing, where the grass grew in a perfect ring of flattened blades. She had noticed the ring on her first visit and assumed deer. Deer did not flatten grass in a perfect circle, and deer did not arrange five smooth grey pebbles at its heart, one for each point of a star. She knew that now. She just hadn't wanted to know it. Her torch beam caught the pebbles. They were no longer grey. They were wet. She leaned closer. Not water. The moisture shone darkly, and when she caught the smell, copper and something sweet beneath it, her stomach turned over. Blood, maybe. Or the Grove's idea of blood. A twig snapped behind her. She spun, torch up. Nothing at the boundary stones. The oaks stood patient and enormous, bark fissured like knuckles. Her light slid across them, trunk by trunk, and on the fourth trunk it stuck. There was a face in the bark. No. There was a *pattern* in the bark that the human brain, desperate and ancient, assembled into a face. She knew that trick. Pareidolia, toast Jesus, the whole industry of it. She watched the not-face for a long count of ten. It did not blink, because it could not blink, because it was bark. It had not been there this afternoon. She was nearly sure of that. "Nearly sure" did a lot of work in that sentence, and she hated it. Rory backed towards the ring. The sensible thing was to leave. The sensible thing had been to leave twenty minutes ago, to leave the pendant in the Thames, to leave London entirely. Instead she reached up and unclasped the chain. The Heartstone dropped into her palm, and its light, that faint inner crimson, bled between her fingers. The clearing inhaled. She felt it rather than heard it. Every flower tilted towards her. The grass pressed flatter in a slow outward ripple, as if the ground itself were a lung. And the silence changed key. Beneath it now, something low and granular, almost a hum, almost a voice, pitched just under hearing. "You gave me this," she said to the clearing. Her voice came out steadier than she felt, the barrister's daughter surfacing. "Or someone did. So let's skip the theatrics." The hum rose half a note. Something moved at the edge of her vision, left side, quick and low. She turned the torch on it and caught only flowers, bobbing. She turned back and caught movement on the right. A shape withdrawing between two standing stones. Tall. Taller than a person had any right to be, or perhaps just thin in a way that read as tall. Her phone flickered. The torch stuttered, died, came back weaker. Battery at forty per cent. It had been at ninety when she'd climbed over the park gate. "Time moves differently here," she whispered. Eva's words, offered like a fun fact over pints. An hour inside could be minutes outside. Or days. Rory looked at the sky. The stars above the clearing did not match any sky she knew. Too many of them, and one constellation, low on the horizon, pulsed faintly in the same rhythm as the stone in her hand. The phone died. Darkness, then. Not total. The flowers still glowed their corpse-blue, and the Heartstone lit her hand from within, so that she could see the bones of her own fingers through the skin, faint as an X-ray. She stared at that for one second too long. When she looked up, the ring of flattened grass had widened. She was standing inside it now, and she could not remember stepping forward. The hum found words. Not English. Not Welsh, not Irish, not anything her ear could file. But the shape of it was unmistakable, the way a tune is unmistakable even in another language. It was her name. Not Aurora. Not Rory. *Malphora.* She had never heard the word before. She knew, the way you know things in dreams, that it was hers. That it had always been hers, and that the clearing had been patient, had waited through twenty-five years of school and Evan and night shifts and locked drawers, and had finally run out of patience. "That's not my name." The flowers leaned closer. Something stepped out from between the standing stones, and it unfolded, that was the only word her mind would allow, unfolded, the way a spider exits a crack, more limb than the space should hold. It wore the dark like a coat. Where its head should be, there was the suggestion of antlers, or branches, or fingers spread wide against the stars. It did not approach. It waited, courteous as a maître d', for her to understand. The Heartstone went from warm to hot. Rory hissed and nearly dropped it, and the moment her grip loosened, the thing tilted its antlered head, and the hum sharpened into something almost like disappointment. So she closed her fist around the burning stone and held on. Blood ran between her fingers, hers this time, where the chain links had bitten. The crescent scar on her left wrist, the old childhood scar, began to itch ferociously, and when she glanced down at it, the crescent was glowing. A thin white curve of light under the skin, answering the crimson in her fist. "Oh, you've got to be joking." The ground gave way. Not collapsed, gave way, deliberately, like a host pulling out a chair. The flattened ring dropped half a foot in perfect silence, and Rory dropped with it, landing on her knees in cold earth that smelled of deep water and old roots. Above her, around the lip of the new hollow, faces pressed out of the soil. Dozens of them. Dirt and root and pebble wearing the shapes of people, mouths open, patient, choral. The antlered thing came to the edge of the hollow and looked down at her. The hum became a voice, and the voice spoke inside her skull in her own accent, borrowed, and it said: "You're late." Rory looked up at it, Heartstone clutched in her bleeding hand, and the stars pulsed faster, and every buried face in the earth turned towards her at once.
created_at"2026-07-25T18:01:51.428Z" 7/25/2026, 6:01:51 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3694
moderation_latency(null)
generation_time79114
tokens_prompt4387
tokens_completion2111
native_tokens_prompt4178
native_tokens_completion1920
native_tokens_completion_images(null)
native_tokens_reasoning64
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)
usage0.0302748
router(null)
provider_responses
0
endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64f9fb7e31418b01e5542a"
is_byokfalse
latency3694
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-1785002511-9fiiDFgByQ0TLJE6FxRu"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1785002511-qirla033IX2cyixexU9l"
upstream_id"chatcmpl-6a64f9fb7e31418b01e5542a"
total_cost0.0302748
cache_discount0.0110592
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)
dialogueSentences11
tagDensity0.545
leniency1
rawRatio0
effectiveRatio0
89.60% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1443
totalAiIsmAdverbs3
found
0
adverb"softly"
count2
1
adverb"deliberately"
count1
highlights
0"softly"
1"deliberately"
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)
54.95% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1443
totalAiIsms13
found
0
word"weight"
count1
1
word"silence"
count3
2
word"pulse"
count1
3
word"quickened"
count1
4
word"perfect"
count3
5
word"stomach"
count1
6
word"flickered"
count1
7
word"pulsed"
count2
highlights
0"weight"
1"silence"
2"pulse"
3"quickened"
4"perfect"
5"stomach"
6"flickered"
7"pulsed"
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
narrationSentences139
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences139
filterMatches
0"know"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences145
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords4
totalWords1443
ratio0.003
matches
0"hungry"
1"texture"
2"pattern"
3"Malphora."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions37
wordCount1392
uniqueNames18
maxNameDensity0.65
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Grove"
discoveredNames
Grove4
Eva4
Heartstone5
Golden1
Empress1
Richmond1
Park1
Heathrow1
November2
Jesus1
Rory9
Thames1
London1
English1
Welsh1
Irish1
Aurora1
Evan1
persons
0"Eva"
1"Heartstone"
2"Jesus"
3"Rory"
4"Evan"
places
0"Grove"
1"Golden"
2"Richmond"
3"Park"
4"November"
5"Thames"
6"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences89
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1443
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences145
matches
0"knew that trick"
1"dreams, that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean28.86
std21.71
cv0.752
sampleLengths
018
153
223
311
463
541
613
755
849
928
1014
1122
127
1370
1414
1533
165
1734
187
1954
2013
2114
2257
233
2451
2529
266
2761
2827
2964
303
3145
3224
3341
341
3555
364
374
3862
3915
4034
4112
4255
436
444
4574
4615
4720
482
4928
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences139
matches
0"been locked"
1"was frightened"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs229
matches
0"was burning"
1"was standing"
2"was glowing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences145
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1157
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.037165082108902334
lyAdverbCount14
lyAdverbRatio0.012100259291270527
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences145
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences145
mean9.95
std7.87
cv0.791
sampleLengths
018
17
219
34
415
58
610
71
81
911
103
118
125
137
1434
156
163
178
1833
192
206
2113
223
234
2421
257
2612
278
2814
291
302
3115
327
332
348
355
362
3721
388
396
404
4118
427
4319
4412
4528
464
477
486
495
50.80% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3793103448275862
totalSentences145
uniqueOpeners55
84.03% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences119
matches
0"Then she felt something else,"
1"Instead she reached up and"
2"Too many of them, and"
ratio0.025
78.82% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences119
matches
0"Her breath plumed in the"
1"She had known the Grove"
2"She had not known it"
3"She pressed a thumb against"
4"She had left it in"
5"She had come home from"
6"Her flat door had been"
7"Her windows latched."
8"She had learned to expect"
9"She had not learned to"
10"She took her phone out."
11"she said, because the silence"
12"She felt foolish immediately."
13"She had noticed the ring"
14"She knew that now."
15"She just hadn't wanted to"
16"Her torch beam caught the"
17"They were no longer grey."
18"They were wet."
19"She leaned closer."
ratio0.353
52.44% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount97
totalSentences119
matches
0"The pendant was burning against"
1"Rory stopped dead between the"
2"Her breath plumed in the"
3"She had known the Grove"
4"She had not known it"
5"She pressed a thumb against"
6"A slow rhythm, like something"
7"She had left it in"
8"She had come home from"
9"Her flat door had been"
10"Her windows latched."
11"Eva would make it a"
12"Rory stepped past the last"
13"That was normal."
14"That was the Grove."
15"Traffic on the A307, the"
16"She had learned to expect"
17"She had not learned to"
18"Tonight it sat against her"
19"The clearing lay ahead, ringed"
ratio0.815
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences119
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount2
matches
0"The clearing lay ahead, ringed by wildflowers that glowed faintly blue in the dark."
1"The flattened ring dropped half a foot in perfect silence, and Rory dropped with it, landing on her knees in cold earth that smelled of deep water and old roots…"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount1
matches
0"she said, because the silence needed puncturing"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
dialogueSentences11
tagDensity0.364
leniency0.727
rawRatio0.5
effectiveRatio0.364
85.0775%