Run: 2026-09-02-01M1GRGX5ZXVX9PPCCP64V0NAG

Run Details

Duration:
6m 37s
Cost:
$0.003377
Provider:
Z.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
"Triple fare, cash up front, and the customer asked for you by name." I braked at the park gate and let the bike lean into the rail. "By which name?" "The receipt says Laila." Yu-Fei's voice came down the line thin and skipping with static. "So. Explain to me why my strangest customer knows my most private driver." "Explain to me why you're still taking orders." "The till doesn't sleep, Rory. Money's already in the tin. Do be memorable." A click. Yu-Fei never asked a question she couldn't bill for. The name sat in my ear. My thumb found the crescent scar on my left wrist and pressed until it stung. Three years since anyone had used that name. Three years of being Rory, delivery girl, keeper of thermal bags and no history. The park gate stood open. Richmond Park chains its gates at dusk, wardens treat that chain like scripture. Tonight the chain lay coiled on the grass, neat as a dropped scarf. Three rules for midnight deliveries. Cash first. Questions never. Gone before the door opens. The tin held three hundred quid, and rent was overdue. I wheeled the bike through and the dark closed behind my wheels. The deer path took over where tarmac surrendered. Bracken snagged my ankles, wet and brown, and cold found every gap in my jacket. Ahead, a herd of fallow deer stood between the trunks. Dozens. All facing me. Not one of them moved, and the night gave none of their noises back: no hoof-scrape, no snort, nothing. I walked closer. They turned as one, poured between the trees and left without a sound, like water finding a drain. I checked the map on my phone. The blue dot span in circles, then marched off the path and kept going through open dark, unhurried, as though it knew a shortcut I didn't. Battery: forty per cent. I looked again. Four. The clock read 00:14, then 00:13, then 00:12, unwinding like a dropped reel of film. The screen died mid-flicker. Fine. Deliveries need legs, a bag and the sense to leave. Two out of three so far. The pendant shifted under my shirt and tapped my sternum with each stride, warm as a coin left in the sun. It had run warm all week. Tonight it drummed. I knew this park. I'd run its perimeter in daylight, dodging dogs and pushchairs. There were no stones on the deer path. These stood across it in a ragged ring: oaks grown into standing stones, trunks gone grey and rigid, bark worn smooth and pale as knucklebone. Frost-coloured seams of moss climbed them like veins. Between the first and second stone, the air changed. Warmth spilled over me like bathwater. The smell arrived after: honey and crushed green stems, and under it iron, sharp as an old penny held too long. November stayed behind me. Ahead, wildflowers crowded the path edge to edge, buttercups and campion and others I had no names for, all in bloom at once, drunk on light that didn't exist. I crossed the boundary because the money was in the tin. I told myself that twice. The second time, the words tasted like the iron smell. Far off, a fiddle played three notes of a wedding tune. Someone's happy night, years ago, other side of the world. It stopped mid-note and didn't come back. My footsteps kept me company. Then they stopped matching. A half-beat late, soft, out in the bracken to my right: same boots, same rhythm, worn by somebody else. I stopped. It stopped. "Delivery," I said, to hear something ordinary. The word came back to me before I finished saying it. Somewhere north, hooves: clip-clop, clip-clop, patient, keeping level with me through trees that held no road. No horses ran Richmond at midnight. No road ran there either. The first time, I caught it between two trunks: a shape taller than the gap allowed, broad through the shoulders, crowned with branches, still as furniture. I kept my eyes forward. Looking gives things permission. The second time it had drifted closer, leaning round the edge of my vision to get a better view. The third time there was no shape at all, only breath on my neck, warm and slow and sweet with honey. I spun, bag swinging. Nothing. At my feet the wildflowers bent outward in a tidy circle, pressed flat, as though something large had sat down to watch me pass. My watch ticked against my wrist. Tick. Tick-tick. It caught up with itself, ran ahead, then ticked backwards, patient as a spider reeling silk. I stopped listening to it. I turned back the way I'd come. Flowers covered the path from trunk to trunk, unbroken, as though no one had walked it in years. No tyre tracks. No footprints. My own boots left prints going forward and none coming back, which was a trick I decided not to think about too hard. The trees behind me had drifted, shoulder to shoulder, a crowd in poor coats. Somewhere in that crowd my bike waited by a fence, and the gap between me and it had stopped being a gap. So. Finish the delivery. Rule one, cash first, and the cash sat ahead of me, in the dark, in a ring of grey oaks. The trees ended without warning. The clearing waited, round as a held breath, walled by the great grey oaks. At its heart stood the largest of them, wide as a door, grain running vertical, knots bulging like muscle under skin. An iron ring hung at shoulder height, grown into the wood. Somebody had rubbed it bright over the years. Rain doesn't do that. A printed slip hung where it had been tucked into the bark, no name, one line: LEAVE THE BAG. KNOCK ONCE. DO NOT WAIT. I set the bag at the roots. It sloshed. Thermal boxes don't slosh. I unzipped the top to check the order: dumplings, noodles, tea. Steam rolled out, thick and hot, though I'd cycled forty minutes through November. I counted the containers. Twelve. I'd packed six. Every lid sat warm as a heartbeat. I closed the bag and gave up counting. The pendant flared against my breastbone, hot enough to bite through cotton. The scar on my wrist woke with it, itching, then burning, in time with something bigger. Under my boots, slow and vast, the ground pulsed. One, two. One, two. The stone in its silver setting beat against my skin, a small heart answering a large one through the soles of my feet. Professional courtesy. That's what I called it. I raised my knuckles to the iron ring, thought about triple fare, and knocked. Once. The sound fell into the wood and made no echo. The clearing held its breath. Every wildflower turned toward me at the same moment, smooth and exact, like a crowd noticing a dropped glass. Something knocked back. Three times, from behind the bark, deep in the grain. Patient. Unhurried. The sound of knuckles that had waited years for the chance. A seam of amber light split the trunk from knuckle-height to the roots, widening a breath at a time with every pulse of the pendant. Warm air breathed out of it, honey and iron and old wood, and under those, faint as a fingerprint, the smell of my mam's kitchen. Sunday gravy. Burnt toast. A smell that had no business being alive in a hollow tree in Richmond Park, and that my body knew before my mind could argue. The wood creaked, settling, and a voice came through the seam, closer than the light, closer than my own skin: "You're late, Laila. We've kept your seat warm."
created_at"2026-09-02T09:52:07.885Z" 9/2/2026, 9:52:07 AM
model"z-ai/glm-5.3-flash-20260826"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3313
moderation_latency(null)
generation_time397322
tokens_prompt4387
tokens_completion12874
native_tokens_prompt4134
native_tokens_completion12267
native_tokens_completion_images(null)
native_tokens_reasoning10585
native_tokens_cached0
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)
usage0.0033768
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
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request_id"req-1788342727-htDiA3utPSeCyuTa9EOi"
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api_type"completions"
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provider_responses
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is_byokfalse
latency3313
model_permaslug"z-ai/glm-5.3-flash-20260826"
provider_name"Z.AI"
status200
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cache_discount(null)
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provider_name"Z.AI"
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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)
dialogueSentences8
tagDensity0.25
leniency0.5
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1285
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)
72.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1285
totalAiIsms7
found
0
word"flicker"
count1
1
word"warmth"
count1
2
word"footsteps"
count1
3
word"silk"
count1
4
word"pulsed"
count1
5
word"echo"
count1
6
word"pulse"
count1
highlights
0"flicker"
1"warmth"
2"footsteps"
3"silk"
4"pulsed"
5"echo"
6"pulse"
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
narrationSentences130
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences130
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences135
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1285
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions14
wordCount1222
uniqueNames6
maxNameDensity0.33
worstName"Three"
maxWindowNameDensity1.5
worstWindowName"Three"
discoveredNames
Yu-Fei2
Rory1
Park2
Richmond3
November2
Three4
persons
0"Yu-Fei"
1"Rory"
places
0"Park"
1"Richmond"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount1
matches
0"tasted like the iron smell"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1285
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences135
matches
0"used that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs37
mean34.73
std22.68
cv0.653
sampleLengths
013
117
228
38
424
543
631
724
812
977
1060
1117
1230
1364
1460
1526
1628
1732
187
1911
2027
2135
2269
2329
2489
2524
2663
2724
2860
2964
3022
3134
323
3323
3479
3520
368
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences130
matches
0"been tucked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs201
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences135
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1233
adjectiveStacks0
stackExamples(empty)
adverbCount26
adverbRatio0.021086780210867802
lyAdverbCount1
lyAdverbRatio0.0008110300081103001
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences135
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences135
mean9.52
std7.19
cv0.755
sampleLengths
013
114
23
315
413
58
615
79
86
915
108
1114
125
1313
1413
155
162
172
185
1910
2012
218
2215
2310
241
253
2619
273
2818
297
3026
314
323
331
3415
354
361
3710
386
3921
406
413
424
4310
448
4525
468
479
486
4921
73.09% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.4962962962962963
totalSentences135
uniqueOpeners67
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences106
matches
0"All facing me."
1"Then they stopped matching."
2"Somewhere north, hooves: clip-clop, clip-clop,"
3"Somewhere in that crowd my"
ratio0.038
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences106
matches
0"I braked at the park"
1"My thumb found the crescent"
2"I wheeled the bike through"
3"I walked closer."
4"They turned as one, poured"
5"I checked the map on"
6"I looked again."
7"It had run warm all"
8"I knew this park."
9"I'd run its perimeter in"
10"I crossed the boundary because"
11"I told myself that twice."
12"It stopped mid-note and didn't"
13"My footsteps kept me company."
14"I said, to hear something"
15"I kept my eyes forward."
16"I spun, bag swinging."
17"My watch ticked against my"
18"It caught up with itself,"
19"I stopped listening to it."
ratio0.264
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount76
totalSentences106
matches
0"I braked at the park"
1"Yu-Fei's voice came down the"
2"Yu-Fei never asked a question"
3"The name sat in my"
4"My thumb found the crescent"
5"The park gate stood open."
6"Richmond Park chains its gates"
7"Tonight the chain lay coiled"
8"The tin held three hundred"
9"I wheeled the bike through"
10"The deer path took over"
11"I walked closer."
12"They turned as one, poured"
13"I checked the map on"
14"The blue dot span in"
15"Battery: forty per cent."
16"I looked again."
17"The clock read 00:14, then"
18"The screen died mid-flicker."
19"Deliveries need legs, a bag"
ratio0.717
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences106
matches(empty)
ratio0
90.91% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount4
matches
0"The blue dot span in circles, then marched off the path and kept going through open dark, unhurried, as though it knew a shortcut I didn't."
1"Ahead, wildflowers crowded the path edge to edge, buttercups and campion and others I had no names for, all in bloom at once, drunk on light that didn't exist."
2"Somewhere north, hooves: clip-clop, clip-clop, patient, keeping level with me through trees that held no road."
3"At my feet the wildflowers bent outward in a tidy circle, pressed flat, as though something large had sat down to watch me pass."
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
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
94.5586%