Run: 2026-09-02-01M1GREHXBYF4E41VANZ5GHG8K

Run Details

Duration:
8m 28s
Cost:
$0.003999
Provider:
Z.AI

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <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> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The dark between worlds tasted of burnt sugar. Rory kept her teeth shut and her eyes open while it pressed in from every side, thick as treacle. Isolde's fingers rested between her shoulder blades, cool as riverbed stones, steering her through a nothing with no floor and no ceiling and no interest in either. Richmond Park's standing stones had dropped away three heartbeats ago. The Heartstone Pendant scalded her sternum, and Nyx's whisper slid through the black from everywhere at once. "Not a breath, little light. Swallow nothing. Not even air, until we stand on the far side." Then ground. Warm soil caught her boots, soft as new bread. She staggered, went down on one knee, and the earth took her weight the way dough takes a thumb. Heat folded over her, wet and sweet, an oven's breath with flowers in it. She pushed upright and forgot, for one whole second, how to blink. No sun hung in the sky, yet light came from everywhere, amber as cider held to a flame. It sat on the land like lamplight through honey. Shadows pooled under the vines anyway. Nothing above them cast those. The air stacked smells one on top of another: roast goose, honeycomb, crushed grapes, woodsmoke, and beneath it all, faint as a lie, the sweetness of fruit gone soft in a bowl. The pendant cooled and settled into a slow, heavy beat. A second pulse, patient, keeping time with something she couldn't see. Behind her, Isolde arrived without sound. Silver hair to her waist, pale lavender eyes half lidded, and where Rory's knee had printed the soil, the ground under the seer's bare feet lay unbroken. Three hundred years of walking, and no world had managed to record her yet. Nyx poured out of Rory's shadow and stretched tall, threads of dark peeling away in the warm wind before knitting shut again. Violet eyes banked low, coals under ash. "Welcome to Dymas." The whisper moved like wind through a keyhole. "Rule one. Nothing passes your lips. Not wine, not water, not the steam off a plate. This kingdom feeds everything it meets." "Hell's a vineyard." Rory wiped soil from her palm. "Of course it is. Where's the brimstone?" "Brimstone is for realms that need to frighten." Isolde drifted past a trellis without a single leaf turning toward her. "This one only needs to feed you. Dymas keeps its guests the way a stomach keeps a meal." Rory's stomach growled. She pressed a fist against it. She'd eaten two hours ago, a proper dinner, and here it carried on like a dog at a butcher's door. "Your body is negotiating with the land already." Isolde glanced back, and the corner of her mouth moved. "Tell it no." "Body. No." Rory fell in behind her. "We came to ask one question. Nobody mentioned the asking came with a tasting menu." "Askers are food here. We will learn which we are." They walked between rows raised on trellises of pale wood, bone coloured, grown into arches taller than a man. Grapes hung heavy as plums, purple black, their skins taut with a light of their own. Golden bees the size of thumbs droned between the bunches, and the drone kept almost forming words. When Rory's sleeve brushed a grape, it hummed, one low note, and the whole row answered, a chord that moved through her back teeth. Under the hum, at the edge of hearing, a whisper. Taste. She pulled her arm in and kept it there. "The fruit is lonely," Isolde said. "Don't answer it." "The fruit can write me a letter." Down the rows, workers bent over their shears. Rough aprons, patient hands, faces smooth with a contentment that sat wrong on them, painted on. Thin tendrils curled from the vines and wrapped their wrists, copper bright threads that tapped the pulse points and drank, slow. At each throat a brand glowed, soft as a lantern turned low. Rory stopped walking. "Those vines are drinking from them." "Everything in Hel is owned by something." Nyx slid along the row's edge. "Contracts here are written in skin. Those ones signed. The vines collect." One worker lifted his head. Eyes the colour of weak tea, pupils blown wide and fixed. He mouthed a single word at her, careful, shaping it with cracked lips. Out. Then he bent back to his shears as though she were weather. Ice slid up the back of Rory's neck. She walked faster. The Veil's weakness buzzed in her fillings, or she imagined it did. Solstice night. The one night a year the doors between everything stood ajar. That was the story, anyway. That was the reason for the crossing, the stones, the seer's riddles in the grove while the wildflowers bloomed out of season around them. "The Veil wears thin tonight," Nyx had said back there. "Doors that stay shut all year open for one breath of a night." They crested a rise, and Rory's breath left her in one soft push. A river the colour of port wound through terraced orchards, rows straight as organ pipes. Every tree bent under fruit, and every tree also carried blossom, spring and harvest sharing the same branch, which shouldn't be possible, which was beautiful, which was the whole trick of the place. Somewhere below, a string section tuned itself and never began. Far up the valley, a palace rose pale as a wedding cake, and the sky's amber light drifted across it slow as honey off a spoon. She caught herself leaning toward it. Her mouth had flooded. She swallowed and found honey at the back of her tongue. Beside her, Isolde studied the valley through half-lidded eyes. "Lovely. Lovely is the bait." "My body's still haggling." "Good. Keep it haggling." "Every shadow in this kingdom has an owner." Nyx's whisper dropped lower. "Mind where you stand." At the valley's head, where the rows funneled, an arch of living trellis crossed the path, wood grown into knotwork no hand could tie. The dagger at her belt went from cold to burning cold. Rory had carried the Fae blade long enough to know its moods. Moonsilver kept the temperature of a winter stream and never, ever warmed. Now rime feathered the sheath and crept toward her hip. "Ward work," Nyx said. "Court work. Old." "And the gate's open." Rory looked at the arch. Its leaves had been peeled back on both sides, neat as the skin off an orange. "Doors in Dymas open from the inside," Isolde said. "Then someone opened this one for us. Or it was never shut." The pendant picked up its pace under the arch, knocking against her breastbone like something asking to be let in. The table ran longer than anything built should run. White cloth laid down the centre of the valley floor, folding over hillocks, past sight. Candles lit themselves along it one by one from the far end, small flames racing toward the near end like footsteps. Dishes waited between them: bread folded into roses, a goose reknitting its own carved thigh, a jug that poured wine into a glass that never filled. Steam rose and hung in the windless air. "No one's eating." The nearest settings gleamed, untouched. "A feast this size and no guests." "The guests are still in the rows." Isolde's voice had gone quiet. Three settings stood apart at the near end, chairs turned to face down the whole length of the cloth. Place cards in thick paper, gold script. Rory reached for hers. The paper had the weight of cloth. She turned it over. Malphora. The name sat there, curled and fine, and every sound in the valley dropped away. She hadn't heard it spoken in seven years. She had buried it in another city, in another life, under a different name, and no one, no one, had carried it across. "No," she said. To the card. To the valley. Isolde's own card bore a moving sigil, ink that swam and resettled, readable by no one but its owner. The seer looked at it a long moment and, for once, offered nothing. Nyx's card lay face up between the forks. Aldric. The whisper stopped. For the first time since the standing stones, Nyx went solid and stayed that way, the whole dark silhouette gathered still, violet eyes flaring like lit wicks. "No one alive knows that name." The voice came out flat, stripped of its wind. "No one living." "Then your host predates living." Isolde tilted her head. "As do you." A single bell tolled from the palace, so deep Rory felt it in her molars. The laughter beyond the hills cut off mid-note. Down every row, workers set down their shears, straightened slow, like puppets finding their strings, and turned. Not toward the feast. Toward her. Rory's hand closed on the dagger's hilt, and rime bit her fingers. At the head of the table, the last candle lit itself, and a chair scraped back across the grass, unhurried, the sound of a host settling in. "There you are." The voice carried down the whole length of the cloth, warm as the air over a roast. "We keep seats by name here, Malphora." Two hundred workers took one step toward her. In perfect time.
created_at"2026-09-02T09:50:50.808Z" 9/2/2026, 9:50:50 AM
model"z-ai/glm-5.3-flash-20260826"
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native_tokens_completion15699
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native_tokens_reasoning13645
native_tokens_cached4928
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num_media_completion0
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount2
adverbTags
0"The whisper moved like [like]"
1"Isolde glanced back [back]"
dialogueSentences40
tagDensity0.45
leniency0.9
rawRatio0.111
effectiveRatio0.1
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1548
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)
51.55% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1548
totalAiIsms15
found
0
word"whisper"
count5
1
word"weight"
count2
2
word"pulse"
count2
3
word"stomach"
count2
4
word"blown wide"
count1
5
word"racing"
count1
6
word"footsteps"
count1
7
word"perfect"
count1
highlights
0"whisper"
1"weight"
2"pulse"
3"stomach"
4"blown wide"
5"racing"
6"footsteps"
7"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
narrationSentences114
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences114
filterMatches(empty)
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences136
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1548
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1277
uniqueNames11
maxNameDensity1.17
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Park1
Heartstone1
Pendant1
Nyx8
Isolde10
Rory15
One1
Veil1
Fae1
Three2
Two1
persons
0"Pendant"
1"Nyx"
2"Isolde"
3"Rory"
4"Veil"
places
0"Park"
globalScore0.913
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.646
wordCount1548
matches
0"no one but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences136
matches
0"stayed that way"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs66
mean23.45
std19.94
cv0.85
sampleLengths
08
173
217
32
454
538
632
721
847
929
1033
1116
1238
1329
1421
1522
1610
1776
1811
199
209
217
2257
239
2425
2529
261
2712
2811
2954
3023
3113
3284
3321
3414
354
364
3716
3869
397
4025
419
4212
4320
449
4570
4615
4712
4826
4915
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences114
matches
0"been peeled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs194
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences136
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1279
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.018764659890539485
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences136
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences136
mean11.38
std7.19
cv0.632
sampleLengths
08
119
227
310
417
517
62
79
819
914
1012
1118
129
136
145
1532
1610
1711
186
1927
2014
2122
227
2311
2422
259
267
2720
2818
293
306
3120
3218
333
347
3515
3610
3719
3816
3917
4024
4110
421
439
446
453
467
478
4816
4921
94.12% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.5955882352941176
totalSentences136
uniqueOpeners81
64.72% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences103
matches
0"Then he bent back to"
1"Somewhere below, a string section"
ratio0.019
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount17
totalSentences103
matches
0"She staggered, went down on"
1"She pushed upright and forgot,"
2"It sat on the land"
3"She pressed a fist against"
4"She'd eaten two hours ago,"
5"They walked between rows raised"
6"She pulled her arm in"
7"He mouthed a single word"
8"She walked faster."
9"They crested a rise, and"
10"She caught herself leaning toward"
11"Her mouth had flooded."
12"She swallowed and found honey"
13"Its leaves had been peeled"
14"She turned it over."
15"She hadn't heard it spoken"
16"She had buried it in"
ratio0.165
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences103
matches
0"The dark between worlds tasted"
1"Rory kept her teeth shut"
2"Isolde's fingers rested between her"
3"Richmond Park's standing stones had"
4"The Heartstone Pendant scalded her"
5"She staggered, went down on"
6"Heat folded over her, wet"
7"She pushed upright and forgot,"
8"It sat on the land"
9"Shadows pooled under the vines"
10"Nothing above them cast those."
11"The air stacked smells one"
12"The pendant cooled and settled"
13"A second pulse, patient, keeping"
14"Nyx poured out of Rory's"
15"Violet eyes banked low, coals"
16"The whisper moved like wind"
17"Rory wiped soil from her"
18"Isolde drifted past a trellis"
19"Rory's stomach growled."
ratio0.709
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences103
matches
0"Now rime feathered the sheath"
1"To the card."
2"To the valley."
ratio0.029
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount4
matches
0"Rough aprons, patient hands, faces smooth with a contentment that sat wrong on them, painted on."
1"Then he bent back to his shears as though she were weather."
2"Every tree bent under fruit, and every tree also carried blossom, spring and harvest sharing the same branch, which shouldn't be possible, which was beautiful, …"
3"Dishes waited between them: bread folded into roses, a goose reknitting its own carved thigh, a jug that poured wine into a glass that never filled."
97.22% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount1
matches
0"The nearest settings gleamed, untouched"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences40
tagDensity0.1
leniency0.2
rawRatio0
effectiveRatio0
95.5373%