Run: 2026-07-25-01KYD7EAAGX482BAR2PZ7D6NNR

Run Details

Duration:
1m 11s
Cost:
$0.028895
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 note had said midnight, and Aurora's phone had died at half eleven. She stood at the edge of Richmond Park with her torch in one hand and the crumpled page in the other, reading it for the dozenth time under the beam. *Come to the stones. Come alone. I can explain everything.* No signature. No address. Just handwriting she half recognised and couldn't place, the way a song sits on the tip of your tongue for days. She should have turned back an hour ago. Instead she had walked past the locked gates, slipped through the gap in the railings that Eva had shown her years before, and followed the torchlight into the dark belly of the park. The pendant beneath her shirt had grown warm against her sternum somewhere around the second kilometre. It pulsed now in slow, steady beats, like something breathing in its sleep. "Brilliant, Rory," she muttered. "Following anonymous notes into parks at night. Dad would be so proud." Her voice came back wrong. Not an echo, exactly. Just flat, swallowed, as though the dark around her had no interest in returning anything. She pushed on. The grass gave way to wildflowers somewhere past the third rise. She noticed them because her torch caught the colour, whites and blues and a deep bruised purple, swaying gently though the air hung still as glass. Flowers. In autumn. In the dark. She crouched and touched one, and the petals were warm. The standing stones rose ahead of her, seven ancient oaks petrified into grey columns, arranged in a rough circle around a clearing. Moss crawled up their flanks in patterns her eyes kept sliding off. Every time she tried to trace one, it seemed to rearrange itself behind her gaze. She stepped between two of the stones. The sound of London vanished. One moment there had been the distant hum of the city, traffic, a siren somewhere, the low electronic murmur that never truly leaves your ears. The next, nothing. A silence so complete it had pressure to it, like being deep underwater. Her own heartbeat filled her skull. And beneath it, something else. A rhythm. Faint, wet, patient. Drip. Pause. Drip. She swept the torch around the clearing. The beam caught the far stones, the flowers, a fallen branch. Nothing that could drip. The ground was dry as bone. "Hello?" She hated herself for calling out. Every horror film she had ever half watched over Eva's shoulder told her what happened to people who announced themselves. But silence had a way of pressing worse. "Is someone there? You wrote the note." The flowers swayed. Still no wind. At the edge of her vision, off to the left, something crossed between two stones. She snapped the torch round and caught only darkness and bark. She held the beam steady. Held her breath with it. The stone stood quiet, grey, ancient. Nothing moved. When she looked back to the centre of the clearing, the fallen branch was gone. Aurora stood very still. She had seen that branch. She had noted it, registered it, the way you register furniture in a room. A pale crooked thing, maybe a metre long, lying across the flowers. Now there were only flowers, undisturbed, heads tilted towards her. The pendant beat harder against her chest. Hot now. Uncomfortably hot. "Right." She backed towards the gap she had come through. "Nope. Absolutely not. Whatever you're selling, I'm not buying." She turned to leave and found herself facing the centre of the clearing. She stopped. Looked down at her feet. She had turned, she was certain of it, a full about-face, and yet there were the flowers ahead of her, the far stones beyond, the same view as before. Her shoulders remembered the turn. The world disagreed. "Okay," she said softly. "Okay, okay." She walked anyway. Straight line, eyes fixed on the stones directly ahead, counting her steps. Ten. Twenty. The gap between the stones grew no closer. Thirty. Forty. The clearing stretched beneath her feet like dough under a rolling pin, and the stones watched her cross it with the patience of things that had all the time there was. Something giggled. It came from her left, high and bright, a child's laugh filtered through a long pipe of water. Aurora froze mid-stride. Her torch hand had begun to shake, and she watched the beam tremble across the flowers with a strange detachment, as though it belonged to someone braver. "Who's there?" The giggle again. Behind her now. She spun. Nothing. The clearing, the stones, the flowers. But the flowers were closer than they had been. The ring of them had tightened. She was sure of it the way you are sure of things in dreams, without evidence and without doubt. The dripping grew louder. Drip. Pause. Drip. It came from everywhere now, from the stones, from the earth, from the hollow of her own chest where the pendant hammered heat into her skin. She tore it out from under her shirt and held it up in the torchlight. The crimson stone glowed from within. Not reflecting her beam. Producing its own light, a deep red pulse that matched the rhythm of the dripping, beat for beat, and with each pulse the darkness beyond the stones thickened, leaned in, pressed its face against the invisible wall of the clearing. "Where did you come from," she whispered to it. "Who gave you to me?" The pendant answered with a throb so hot she nearly dropped it, and in that flare of pain the clearing changed. For half a second, no more, the flowers were not flowers. They were faces. Hundreds of them, small and pale and upturned, eyes shut, mouths open in that patient, waiting way, and then the light steadied and they were petals again. Aurora made a sound she had never made before, low and cracked, and she ran. She ran for the nearest gap between the stones and the gap slid aside like a bead on a string, always two paces ahead, teasing her round the circle. Her breath tore in her throat. The dripping became a chorus, became a voice, became several voices, wet and layered, murmuring in a rhythm that was almost words, almost her name. *Aurora. Aurora. We've been waiting, Aurora.* She stopped dead. "I never told you my name." The murmuring paused. The whole clearing seemed to inhale. Then, from directly behind her, close enough that she felt breath stir the hair at her nape, damp and cold and smelling of riverbeds, a single voice spoke clearly. "You did." She could not move. Her legs had stopped belonging to her. The torch slipped from her fingers and rolled, and its beam swept the clearing in a slow arc as it settled, and in that moving light she saw them at last, figures standing between every pair of stones, tall and thin and gently swaying, their faces smooth as the stones themselves, featureless, patient, ancient. The breath at her neck came again. "The door is so thin here," the voice said, conversational, almost kind. "And you brought the key. That was thoughtful. We've knocked and knocked, you know. For years. And nobody ever brought the key." The pendant seared against her skin. She looked down. The crimson stone had begun to beat in earnest, fast and bright, and with every pulse the air in the centre of the clearing folded, creased, split like wet paper, and through the split she saw a depth that had no bottom, dark water rising up a stairwell of black stone, and something on those stairs below, climbing, patient, one slow step at a time. "Now," the voice said warmly, "hold still."
created_at"2026-07-25T18:08:48.475Z" 7/25/2026, 6:08:48 PM
model"moonshotai/kimi-k3-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3874
moderation_latency(null)
generation_time70994
tokens_prompt4387
tokens_completion2048
native_tokens_prompt4178
native_tokens_completion1828
native_tokens_completion_images(null)
native_tokens_reasoning168
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)
usage0.0288948
router(null)
provider_responses
0
endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
id"chatcmpl-6a64fb9fc4bea6f55bea9273"
is_byokfalse
latency3874
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-1785002928-9jJtgaaB29wWhYxGJWPg"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1785002928-oS7A8KStb8JJjEnsd3vq"
upstream_id"chatcmpl-6a64fb9fc4bea6f55bea9273"
total_cost0.0288948
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
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount2
adverbTags
0"she said softly [softly]"
1"the voice said warmly [warmly]"
dialogueSentences16
tagDensity0.438
leniency0.875
rawRatio0.286
effectiveRatio0.25
76.71% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1288
totalAiIsmAdverbs6
found
0
adverb"gently"
count2
1
adverb"truly"
count1
2
adverb"very"
count1
3
adverb"softly"
count1
4
adverb"warmly"
count1
highlights
0"gently"
1"truly"
2"very"
3"softly"
4"warmly"
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)
65.06% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1288
totalAiIsms9
found
0
word"pulsed"
count1
1
word"echo"
count1
2
word"silence"
count2
3
word"absolutely"
count1
4
word"pulse"
count3
5
word"throb"
count1
highlights
0"pulsed"
1"echo"
2"silence"
3"absolutely"
4"pulse"
5"throb"
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
narrationSentences123
matches(empty)
96.40% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences123
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
2"happened to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences132
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen65
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords16
totalWords1288
ratio0.012
matches
0"Come to the stones. Come alone. I can explain everything."
1"Aurora. Aurora. We've been waiting, Aurora."
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
totalMentions16
wordCount1202
uniqueNames6
maxNameDensity0.58
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Aurora7
Richmond1
Park1
Eva2
London1
Drip4
persons
0"Aurora"
1"Eva"
places
0"Richmond"
1"Park"
2"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences64
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1288
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences132
matches
0"seen that branch"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs47
mean27.4
std22.07
cv0.805
sampleLengths
013
165
270
316
424
53
653
749
87
95
1047
1110
123
1328
1442
156
1644
1715
1845
1911
2019
2113
2244
236
2458
252
2648
272
286
2943
3048
3150
3214
3362
3415
3560
366
379
389
3929
402
4165
427
4334
449
4565
467
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences123
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs191
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences132
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1204
adjectiveStacks1
stackExamples
0"deep bruised purple, swaying"
adverbCount40
adverbRatio0.03322259136212625
lyAdverbCount14
lyAdverbRatio0.011627906976744186
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences132
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences132
mean9.76
std10.46
cv1.072
sampleLengths
013
130
24
32
46
52
621
78
833
916
1013
114
1212
135
144
1515
163
1711
1826
191
202
213
2210
2322
2412
2515
267
275
2825
293
3013
316
325
332
343
351
361
371
387
3911
404
416
427
4320
448
457
463
473
4815
4911
60.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.4090909090909091
totalSentences132
uniqueOpeners54
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences98
matches
0"Just handwriting she half recognised"
1"Instead she had walked past"
2"Just flat, swallowed, as though"
3"Then, from directly behind her,"
ratio0.041
73.06% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences98
matches
0"She stood at the edge"
1"I can explain everything.* No"
2"She should have turned back"
3"It pulsed now in slow,"
4"Her voice came back wrong."
5"She pushed on."
6"She noticed them because her"
7"She crouched and touched one,"
8"She stepped between two of"
9"Her own heartbeat filled her"
10"She swept the torch around"
11"She hated herself for calling"
12"She snapped the torch round"
13"She held the beam steady."
14"She had seen that branch."
15"She had noted it, registered"
16"She backed towards the gap"
17"She turned to leave and"
18"She had turned, she was"
19"Her shoulders remembered the turn."
ratio0.367
77.35% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount75
totalSentences98
matches
0"The note had said midnight,"
1"She stood at the edge"
2"I can explain everything.* No"
3"She should have turned back"
4"The pendant beneath her shirt"
5"It pulsed now in slow,"
6"Her voice came back wrong."
7"She pushed on."
8"The grass gave way to"
9"She noticed them because her"
10"She crouched and touched one,"
11"The standing stones rose ahead"
12"Moss crawled up their flanks"
13"Every time she tried to"
14"She stepped between two of"
15"The sound of London vanished."
16"The next, nothing."
17"A silence so complete it"
18"Her own heartbeat filled her"
19"She swept the torch around"
ratio0.765
51.02% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences98
matches
0"Now there were only flowers,"
ratio0.01
57.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount5
matches
0"Just flat, swallowed, as though the dark around her had no interest in returning anything."
1"Every horror film she had ever half watched over Eva's shoulder told her what happened to people who announced themselves."
2"The clearing stretched beneath her feet like dough under a rolling pin, and the stones watched her cross it with the patience of things that had all the time th…"
3"Producing its own light, a deep red pulse that matched the rhythm of the dripping, beat for beat, and with each pulse the darkness beyond the stones thickened, …"
4"The crimson stone had begun to beat in earnest, fast and bright, and with every pulse the air in the centre of the clearing folded, creased, split like wet pape…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount2
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
dialogueSentences16
tagDensity0.313
leniency0.625
rawRatio0.4
effectiveRatio0.25
85.9009%