Run: 2026-09-01-01M1EP3EC3XN3M7WBKPYD8HQFX

Run Details

Duration:
1m 56s
Cost:
$0.030830
Provider:
xAI

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 bracken snapped back and drew blood from her wrist. Rory hissed and sucked the cut, the copper bright on her tongue. The Heartstone hung against her sternum and pulsed in time with the sting, a thumbnail of crimson that threw a sick little glow up the silver chain. She had followed that heat through Richmond Park until the paths gave up and the oaks closed ranks around her. Isolde's grove. That was the name the old man at the gate had used, right before he pretended not to see her. She pushed on. Wildflowers carpeted the clearing in colours that had no business blooming together. Foxgloves leaned into snowdrops. Bluebells tangled with poppies. The air tasted of honey left too long in the jar, sweet enough to coat the back of her throat. Rory stepped between the blooms and felt the soil give like flesh. Her torch beam jittered across bark. "Hello?" The word came out smaller than she liked. She cleared her throat and tried again, louder, the way she called orders across Yu-Fei's kitchen when the Friday rush hit. "I'm looking for Isolde." Nothing answered. A moth batted the torch glass and left a smear. Rory lowered the beam and watched her own boots crush a path that sprang back the moment she lifted her heel. No trail. No proof she had come this way at all. She kept walking. The standing stones waited at the far end, nine of them, each taller than a man and veined with something that caught the torchlight and threw it back green. Oak, she realised, when she got close enough to smell the tannin. Not quarried. Grown. The trunks had thickened into pillars and the bark had sealed over whatever had once been branches. Rory reached out and laid her palm against the nearest. Warm. She snatched her hand back. Trees did not hold heat like that. She wiped her palm on her jeans and circled the ring, counting. Nine. She counted again. Still nine. On the third pass she found ten. Rory stopped. She played the torch over the extra stone. Same height. Same green veins. Same faint warmth bleeding off it like breath. She had walked this circle twice. She knew she had. A laugh drifted through the oaks. Children's laughter, high and bright, the kind that belonged to a playground at noon. It came from her left. She swung the torch. Bracken. Shadows. The laugh came again, behind her now, and she turned so fast the chain of the pendant slapped her collarbone. "Who's there?" The laugh chopped off mid-note. Rory stood in the flower-stink and listened to her own pulse. Cool-headed. That was what Eva always said. Cool-headed Rory, who could talk a drunk out of a fight and a landlord out of an eviction. She planted her feet and made herself breathe through her nose. In. Out. The scar on her left wrist itched, that old crescent from the smashed bottle in her father's study, and she rubbed it with her thumb the way she had since she was nine. The flowers nearest her boots had turned. Not blown. Turned. Every foxglove, every poppy, every pale little snowdrop faced her shins like a congregation. Rory took a step back. The blooms nearest her previous spot rotated on their stems to follow. She swallowed. "Cute trick." Her voice sounded wrong in the enclosed dark, too flat, as if the grove drank the echo before it formed. She backed toward the stone ring because at least the stones stayed put. At least they had the decency to be solid. The extra one, the tenth, now stood a handspan closer to its neighbour than it had a minute ago. Rory did not run. Running meant you had already lost the argument. She kept the torch up and the stones on her right and moved with the slow care she used on ice in January, when the delivery bike wanted to kill her. A twig cracked ahead. She froze. Another crack, then a third, spaced like footsteps. Not an animal. Animals did not pause between steps to let you hear them. Rory angled the beam into the oaks. The light found a figure. It stood between two trunks, far enough that the details smeared. Human height. Human shape. Shoulder-length hair, dark. Rory's stomach folded in on itself. "Eva?" The figure did not move. Rory took one step. The torch caught a pale oval of face and the suggestion of a mouth. "Eva, if that's you, I swear I will end you. You do not pull this in a wood at—" The figure stepped behind a trunk. Rory followed with the light. Bark. Moss. Nothing else. She swept left, right, up into the canopy where the branches knitted so tight they might as well have been a ceiling. Empty. Her name drifted through the leaves. Not Eva's voice. Not anyone's she knew. A woman's voice, low, almost fond, the way her mother used to call her in from the garden in Cardiff when the streetlights flickered on. "Aurora." Rory's mouth went dry. Nobody used that name. Not since she had fled west and let London sand her down to Rory, to Laila on the nights she needed a door opened, to Carter on the invoices. Aurora belonged to a girl who had sat in lecture halls and pretended Pre-Law would save her. "Come off it." She meant it to sound bored. It came out cracked. The pendant flared against her skin, hot enough that she grabbed the chain and yanked the stone away from her chest. In the sudden wash of crimson the wildflowers looked black. The stones looked like teeth. The footsteps started again. This time they matched hers. She walked. They walked. She stopped. They stopped a half-beat later, a sloppy echo, as if whatever wore them had to remember how legs worked. Rory changed direction, cut hard toward the gap she had entered by. The oaks had closed. She played the torch along the wall of trunks. No gap. No bracken path. The trees stood shoulder to shoulder, bark fused in places, a palisade that had not been there when she arrived. Rory put her hand out. The wood was warm. It gave a fraction, like muscle, then firmed. She snatched her fingers back and wiped them on her jumper. Think. Out-of-the-box. That was the other thing Eva said, usually while stealing chips off her plate. The grove sat in a pocket. Time moved wrong here. An hour inside could be minutes outside, or days. If the trees had grown, how long had she been standing still? Rory dug her phone from her pocket. The screen stayed black. She held the power button until her thumb ached. Nothing. The torch beam chose that moment to yellow, then white, then yellow again. She slapped the casing. The light steadied. "Right." She turned back to the stone ring because it was the only structure that made sense, the only thing that looked like it had been put here on purpose. Ten stones. She refused to count a third time. She stepped between two of them, into the circle, and the temperature dropped so fast her breath showed. Frost filmed the grass inside the ring. The wildflowers stopped at the boundary as if someone had drawn a line. Rory's boots crunched. The sound was huge. At the centre sat a shallow depression in the earth, the size of a sleeping body. No, smaller. The size of a child. She crouched. The soil at the bottom was darker, packed, and when she lowered the torch she saw the impression of fingers, little ones, dug in as if something had been pulled down by the wrists. The laugh came from under the ground. Rory stood so fast her vision spotted. She backed up until her shoulders hit oak-stone and the warmth of it soaked through her jumper. The laugh rose, muffled, then clear, then joined by a second voice, and a third, a whole bright chorus of children who were not children, who had never been children, singing a skipping rhyme she almost knew. The words slipped around the ones she remembered. *Malphora, Malphora, hung up on the door-a* Her aliases ran through her head in a cold line. Rory. Laila. Aurora. Carter. Malphora. She had never heard the last one spoken aloud. She had found it written once, in a hand she did not recognise, on the inside of the box the pendant had arrived in. No return address. No note. Just that word, and the stone, and a silver chain that never tarnished. The singing stopped. Rory held the torch like a blade. The beam shook. She made it stop by sheer spite, locked her elbow, and swept the circle. Eleven stones. The new one stood where she had entered, sealing the ring. Same height. Same green veins. Same faint heat. Carved into its face, fresh, the sap still wet, was a crescent the size of the scar on her wrist. Something moved at the edge of the light. Not a figure this time. A suggestion of shoulders, of hair, of a mouth that smiled with too many corners. It kept to the rim of the beam, sliding when she tracked it, always half a step beyond focus. Rory turned with it, slow, a full rotation, and when she completed the circle the depression in the earth was no longer empty. A girl sat in it. Five years old, perhaps six. Straight black hair to her shoulders. Bright blue eyes that caught the torch and threw it back. She wore a cardigan Rory remembered, navy, with a button missing from the left cuff, the one her mother had meant to sew back on and never had. The girl looked up. She smiled. The smile belonged on an adult. "You took your time," the girl said. Rory's torch died. In the crimson wash of the pendant the girl's face kept changing, sliding between ages, between people. Eva at sixteen. Jennifer Carter at the kitchen table. Evan, for one nauseating second, the way he had looked the night she left. Then the child again, still smiling, still sitting in a hole that had the shape of a grave. The stones leaned in. Wood groaned. Bark split. The ring shrank by a foot, then another, the pillars hitching closer like a fist closing. Rory spun, looking for a gap, any gap, and found only the extra stones, twelve now, thirteen, crowding, the green veins bright as arteries. The girl stood up. She was taller than she had been. She was Rory's height. She wore Rory's jumper, Rory's jeans, Rory's scuffed boots, and when she tipped her head the pendant at her throat pulsed in perfect time with the one burning against Rory's skin. "You came for answers," the other one said, in Rory's voice, down to the Cardiff drag she had spent three years sanding off. "Ask." Behind her, under the packed earth, something started to climb.
created_at"2026-09-01T14:31:20.724Z" 9/1/2026, 2:31:20 PM
model"x-ai/grok-4.6-20260810"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency489
moderation_latency(null)
generation_time115716
tokens_prompt4387
tokens_completion3229
native_tokens_prompt4327
native_tokens_completion4752
native_tokens_completion_images(null)
native_tokens_reasoning2436
native_tokens_cached4224
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"completed"
service_tier"default"
usage0.03083
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788273080-AypLdnmHfiiHJE2UUzG5"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788273080-yFJsa4gklgkSzFzU3AJp"
upstream_id"620c47de-8097-966d-91aa-653ac8c099a1"
provider_responses
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endpoint_id"0d0536e3-7eb1-4acb-8249-c8813365c2d8"
id"620c47de-8097-966d-91aa-653ac8c099a1"
is_byokfalse
latency105
model_permaslug"x-ai/grok-4.6-20260810"
provider_name"xAI"
status200
total_cost0.03083
cache_discount0.006336
upstream_inference_cost0
provider_name"xAI"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.167
leniency0.333
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1844
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
62.04% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1844
totalAiIsms14
found
0
word"pulsed"
count2
1
word"warmth"
count2
2
word"pulse"
count1
3
word"echo"
count2
4
word"footsteps"
count2
5
word"stomach"
count1
6
word"flickered"
count1
7
word"structure"
count1
8
word"grave"
count1
9
word"perfect"
count1
highlights
0"pulsed"
1"warmth"
2"pulse"
3"echo"
4"footsteps"
5"stomach"
6"flickered"
7"structure"
8"grave"
9"perfect"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences208
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences208
filterMatches
0"hear"
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences218
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords7
totalWords1844
ratio0.004
matches
0"Malphora, Malphora, hung up on the door-a"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions54
wordCount1801
uniqueNames14
maxNameDensity1.78
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Heartstone1
Richmond1
Park1
Yu-Fei1
Friday1
Eva4
Rory32
January1
Cardiff2
London1
Laila2
Carter3
Pre-Law1
Malphora3
persons
0"Heartstone"
1"Eva"
2"Rory"
3"Laila"
4"Carter"
5"Malphora"
places
0"Richmond"
1"Park"
2"Yu-Fei"
3"January"
4"Cardiff"
5"London"
globalScore0.612
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences108
glossingSentenceCount1
matches
0"looked like it had been put here on purpo"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1844
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences218
matches
0"followed that heat"
1"used that name"
2"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs71
mean25.97
std24.38
cv0.939
sampleLengths
010
181
23
352
46
51
629
74
844
93
1071
111
1237
1333
146
1545
162
175
1882
197
2034
212
222
2361
2443
254
2631
275
2824
291
3023
3119
3238
336
3432
351
3654
373
3846
394
4042
414
4251
4311
4481
457
461
4756
4827
4959
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences208
matches
0"been pulled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs321
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences218
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1814
adjectiveStacks0
stackExamples(empty)
adverbCount63
adverbRatio0.034729878721058434
lyAdverbCount4
lyAdverbRatio0.002205071664829107
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences218
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences218
mean8.46
std7.8
cv0.922
sampleLengths
010
112
227
320
42
520
63
712
84
94
1020
1112
126
131
148
1521
164
172
1810
1921
202
219
223
2329
2412
252
261
2717
2810
291
305
317
3212
331
343
352
367
372
388
392
403
418
426
434
446
4514
465
474
481
491
47.55% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3348623853211009
totalSentences218
uniqueOpeners73
82.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences162
matches
0"At least they had the"
1"Just that word, and the"
2"Bright blue eyes that caught"
3"Then the child again, still"
ratio0.025
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences162
matches
0"She had followed that heat"
1"She pushed on."
2"Her torch beam jittered across"
3"She cleared her throat and"
4"She kept walking."
5"She snatched her hand back."
6"She wiped her palm on"
7"She counted again."
8"She played the torch over"
9"She had walked this circle"
10"She knew she had."
11"It came from her left."
12"She swung the torch."
13"She planted her feet and"
14"Her voice sounded wrong in"
15"She backed toward the stone"
16"She kept the torch up"
17"It stood between two trunks,"
18"She swept left, right, up"
19"Her name drifted through the"
ratio0.253
40.25% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount136
totalSentences162
matches
0"The bracken snapped back and"
1"Rory hissed and sucked the"
2"The Heartstone hung against her"
3"She had followed that heat"
4"That was the name the"
5"She pushed on."
6"Wildflowers carpeted the clearing in"
7"Foxgloves leaned into snowdrops."
8"Bluebells tangled with poppies."
9"The air tasted of honey"
10"Rory stepped between the blooms"
11"Her torch beam jittered across"
12"The word came out smaller"
13"She cleared her throat and"
14"A moth batted the torch"
15"Rory lowered the beam and"
16"She kept walking."
17"The standing stones waited at"
18"Oak, she realised, when she"
19"The trunks had thickened into"
ratio0.84
30.86% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences162
matches
0"If the trees had grown,"
ratio0.006
70.39% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount7
matches
0"The Heartstone hung against her sternum and pulsed in time with the sting, a thumbnail of crimson that threw a sick little glow up the silver chain."
1"Rory lowered the beam and watched her own boots crush a path that sprang back the moment she lifted her heel."
2"The standing stones waited at the far end, nine of them, each taller than a man and veined with something that caught the torchlight and threw it back green."
3"Children's laughter, high and bright, the kind that belonged to a playground at noon."
4"Cool-headed Rory, who could talk a drunk out of a fight and a landlord out of an eviction."
5"They stopped a half-beat later, a sloppy echo, as if whatever wore them had to remember how legs worked."
6"The laugh rose, muffled, then clear, then joined by a second voice, and a third, a whole bright chorus of children who were not children, who had never been chi…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences12
tagDensity0.167
leniency0.333
rawRatio0
effectiveRatio0
88.3356%