Run: 2026-09-02-01M1GSVE7XQCMZW5YGNRMYJ194

Run Details

Duration:
7m 40s
Cost:
$0.003699
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
Thirteen stones. There should have been twelve. Rory counted them twice, torch beam hopping from grey flank to grey flank, and both times the ring gave her one extra. She put it down to the dark, then to her own memory, then stopped making excuses, because the docket in her jacket read party of thirteen, and her life had stopped believing in coincidence somewhere around the fireproof box. The order had come into the Golden Empress at twenty to ten. Cash, prepaid, taped under the counter with her name on it. One salt and pepper squid, extra chilli, no chopsticks. Delivery address: The Old Ring, Richmond Park, past the twelfth oak. Yu-Fei had laughed and called it a wind-up from someone with more money than sense. Then Rory found the note tucked behind the banknotes, written in the same slanted hand as the card that had arrived with her pendant. That card said, Wear it always. You don't argue with post from someone who knows to write that. Tonight's note said: Come alone. After dark. Whatever calls your name, hold your tongue. So she'd chained the scooter at Robin Hood Gate, hopped the locked barrier with an insulated bag over one shoulder, and slipped through the hawthorn gap between the boundary oaks like the trespasser she technically was. Her watch had said 11:53. Inside the ring it was another country, the way it always was. Wildflowers crowded right up to the stones in November, dog roses wide open, the air thick and honeyed, and over everything lay that hush the grove kept, like a library left to grow wild. Three rules for deliveries after midnight. She'd written them on the bus, back when it was funny. One, know your exits. Two, money first, food second. Three, never answer to your name. Rule three wasn't a rule tonight. It was the entire job description. "Okay. Thirteen. Great." Her voice fell into the hush and didn't come back. Good delivery people don't chat on the job, she told herself, and started walking the inside of the ring, boots quiet on the moss. She was halfway round before she noticed the flowers. Every head in the clearing leaned away from her path, all of them bending east while she moved north, a whole meadow flinching in the same direction at once. No wind. The roses nearest her had closed themselves shut. "Fine. Noted." Rule one. Exits. The hawthorn gap glowed faint grey behind her, thirty strides off, unblocked. She gave it a nod like a colleague and took out her phone. No signal. Not the usual single bar of hope, nothing, the signal icon gone flat as a dead line. The delivery app refreshed itself anyway, which apps shouldn't manage without signal, and scrolled its banner across the screen. Order #0000. Delivered. Enjoy your meal, Aurora. She hadn't delivered anything. She hadn't pressed anything. The phone sat in her palm, ticking with warmth that had nothing to do with the battery. Her watch said 12:14, twenty minutes inside the ring, give or take. Then the screen lit against her hip, one last spasm of the outside world. Yu-Fei: It's gone three. Rory. Where's my scooter. Three o'clock. Twenty minutes. Everyone who knew anything knew the grove chewed time at both ends, but she'd never felt it lean on her before, never felt it in her teeth like a tide pulling. She locked the phone, put it away, and heard the spoon. A teaspoon against china, three small chimes, somewhere behind the ninth stone. Delicate. Unhurried. The sound of someone stirring a cup of tea at a kitchen table in the middle of a closed royal park at midnight. It chimed again, nearer, and with it came the smell, fryer oil and ginger and burnt sugar, the exact smell of the Golden Empress at the Friday rush, three miles and a locked gate away. The absence hit her then too. London hums at night, always, a floor-note of tyres and flight paths, and even in Richmond the A3 murmurs like surf. Here the floor-note was gone. The silence had a shape, and the shape was listening. The bag on her shoulder held a sealed container. She checked. Sealed, still warm, sauce cup rattling loose inside, everything as the kitchen had packed it. The smell didn't come from the bag. The smell came from everywhere. Then the restaurant bell chimed, the little brass one on the pass that Yu-Fei dinged for collection, thin and watery, heard through a wall of water. Once. Politely. Rory stood still in the middle of a meadow that leaned away from her and did some arithmetic. Distance to the gap: thirty strides. Distance to the ninth stone: forty. Distance covered by a polite bell that wanted its food: unmeasured. Assume far. Assume near. Assume both. Something stood between the stones at the far side of the ring. Heron-tall. Wrong at the knees. It stood with the stillness of the oaks themselves, and her torch found it the way you find a hare in a field, all at once, in space that had been empty a second ago. She put the beam on it. Stone. Lichen, a rain stain down one flank, ancient and bored and completely stationary. She lowered the light, and the shape was closer, near enough now that she could hear it not-breathing. Up went the torch. Stone again, and the meadow between them bowed flat, a long ripple running away from her through the closed roses as if some enormous flat hand were smoothing the ground. Twice on the walk round, the moss moved at the edge of her light. A scurrying, held politely in check. Like a dog told to stay. She put a hand on the twelfth stone to steady herself, an old habit, touching the oaks for luck. The stone was warm. Warm as a flank. It rose under her palm and fell, slow and tidal, and she took her hand back a finger at a time and didn't wipe it on her jacket, because that would have been an insult, and insults get remembered in places like this. "Not tonight," she told the ring. Her voice came out steadier than her hands. "I've got a delivery. Someone paid for squid. That's a contract. Even your lot respect contracts." The grove thought about that. She could feel it thinking, a pressure behind her ears like descending in a plane. Rule two, money first. Payment had cleared, cash on the counter, which meant somewhere in this ring there was a customer, and customers had customs. She'd been coming here, off and on, for a year. You left the food on the flat stone in the centre. You said nothing. You walked out backwards, and you didn't look at the treeline, and you especially didn't look at the treeline when the treeline looked at you. She was three steps from the centre stone when the humming started. A lullaby. Her mother's, the one about the herring girl, hummed the way it had drifted under her bedroom door in Cardiff, except every third note was wrong, bent flat, like a tune learned by something listening through a wall. The spoon chimed along. The bell stayed quiet, waiting its turn. The Heartstone woke against her sternum. It had been quiet all evening, a coal's worth of warmth, a faint red glow she'd stopped noticing months ago. Now it pulsed. Once. Twice. The silver chain went hot against the back of her neck and the light bled up through her jacket zip, and two heartbeats moved in her chest, hers and the stone's, out of step. She knew that rhythm. She'd felt it exactly once, on a footbridge in Southwark, four seconds before the air split down the middle and something leaned through. But that was Hel. The grove was fae ground, old and tended, neutral as Switzerland. Doors didn't open here. The stone was telling her a door was opening here. The humming stopped. "Aurora." Not her mother's voice. Not the lullaby. A flat grey voice with no floor to it, coming from the flowers, from the stones, from under the moss. It said her name the way you pick up a tool you left out overnight. She held her tongue. Rule three. She held it so hard she tasted copper, and walked, and kept her eyes on the flat stone. "Aurora," said the voice, in her own voice now, in the exact words she'd spoken at the ring's edge twenty minutes ago. "Okay. Thirteen. Great." Her own voice, down to the breath. Her phone was in her pocket. Her phone was silent. "Aurora Carter." Full name. Register cadence. A supply teacher taking the roll in a room of children who all knew what happened to the ones who answered. The stone against her chest beat faster, brighter, desperate as a smoke alarm, then went cold, all at once, cold as a coin off a winter pavement, and the cold was worse than the heat, because the heat had meant a door and the cold meant a presence standing in the doorway. "Here," said Rory. It was out before her brain could bite down on it. Two letters. The price of two letters. Nothing moved. The whole grove held its breath with her. Then the bell chimed twice, right against her ear, close enough to feel the brass on her lobe, and the meadow turned. Every wildflower head in the clearing swung on its stem, slow, synchronised, a field of small faces opening toward her all at once. Where there had been bare stone in the centre there was now her insulated bag, sitting on the flat stone, open, steaming, the squid arranged on the lid with its chilli scattered like confetti. Chopsticks stood upright in it. Two of them, lacquered black, standing at attention. The order had said no chopsticks. Someone had thought about that and included them anyway. Behind her, the hawthorn gap finished closing. She heard it, a long creak of green wood knitting itself shut, patient as a stitch pulled tight, and she didn't look, because looking cost time and time was the only thing she had left to spend. "Aurora Carter," said the grove, from behind her, from beside her, from inside her own mouth, in thirteen voices that had all been hers once. "Sit down while it's hot."
created_at"2026-09-02T10:15:21.611Z" 9/2/2026, 10:15:21 AM
model"z-ai/glm-5.3-flash-20260826"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5074
moderation_latency(null)
generation_time459680
tokens_prompt4387
tokens_completion15378
native_tokens_prompt4134
native_tokens_completion14539
native_tokens_completion_images(null)
native_tokens_reasoning12302
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.00369904
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788344121-F6G4T0HIgKkczD2Q2r01"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788344121-nkxHdwBmIfZ5a0rstyiu"
upstream_id"202609021815212a984c3599ae48b5"
provider_responses
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endpoint_id"8e9fe48b-2f91-41c3-a8a7-e4a93a8c4ff0"
id"202609021815212a984c3599ae48b5"
is_byokfalse
latency5074
model_permaslug"z-ai/glm-5.3-flash-20260826"
provider_name"Z.AI"
status200
total_cost0.00369904
cache_discount0.00049152
upstream_inference_cost0
provider_name"Z.AI"
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences11
tagDensity0.273
leniency0.545
rawRatio0
effectiveRatio0
97.12% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1736
totalAiIsmAdverbs1
found
0
adverb"completely"
count1
highlights
0"completely"
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)
85.60% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1736
totalAiIsms5
found
0
word"warmth"
count2
1
word"silence"
count1
2
word"could feel"
count1
3
word"pulsed"
count1
highlights
0"warmth"
1"silence"
2"could feel"
3"pulsed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences154
matches
0"g with warmth"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences154
filterMatches
0"watch"
hedgeMatches
0"happened to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences161
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen52
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1736
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
totalMentions50
wordCount1698
uniqueNames27
maxNameDensity0.29
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"You"
discoveredNames
Golden2
Empress2
Old1
Ring1
Richmond2
Park1
Rory5
Wear1
Come1
Robin1
Hood1
Gate1
November1
Aurora1
Friday1
Yu-Fei3
Cardiff1
Heartstone1
Southwark1
Hel1
Switzerland1
You4
Three3
Two3
Rule4
Distance3
Assume3
persons
0"Rory"
1"Come"
2"Robin"
3"Hood"
4"Gate"
5"Yu-Fei"
6"Heartstone"
7"You"
8"Distance"
places
0"Golden"
1"Ring"
2"Richmond"
3"Park"
4"November"
5"Friday"
6"Cardiff"
7"Southwark"
8"Switzerland"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences92
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1736
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences161
matches
0"lay that hush"
1"knew that rhythm"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs43
mean40.37
std33.74
cv0.836
sampleLengths
07
161
2100
314
487
532
612
73
882
92
1066
117
1294
1311
14114
1566
1647
1712
18112
1926
2070
2130
2220
2374
2412
2551
266
2786
2829
293
301
3142
3224
3325
3417
352
3677
373
3818
3932
4085
4144
4230
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences154
matches
0"was gone"
1"get remembered"
97.83% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs261
matches
0"was listening"
1"were smoothing"
2"was telling"
3"was opening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences161
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1706
adjectiveStacks2
stackExamples
0"faint grey behind her,"
1"wrong, bent flat, like"
adverbCount57
adverbRatio0.03341148886283705
lyAdverbCount8
lyAdverbRatio0.004689331770222743
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences161
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences161
mean10.78
std10.29
cv0.954
sampleLengths
02
15
222
339
412
511
69
711
815
924
106
1112
125
132
147
1536
165
1712
1834
196
2011
214
225
236
246
256
263
2710
2824
299
3029
312
328
332
342
351
3612
3713
382
3917
4019
412
421
434
444
454
4617
4712
4814
494
60.46% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.422360248447205
totalSentences161
uniqueOpeners68
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences124
matches
0"Then Rory found the note"
1"Then the screen lit against"
2"Then the restaurant bell chimed,"
3"Twice on the walk round,"
4"Then the bell chimed twice,"
ratio0.04
97.42% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences124
matches
0"She put it down to"
1"You don't argue with post"
2"Her watch had said 11:53."
3"She'd written them on the"
4"It was the entire job"
5"Her voice fell into the"
6"She was halfway round before"
7"She gave it a nod"
8"She hadn't delivered anything."
9"She hadn't pressed anything."
10"Her watch said 12:14, twenty"
11"She locked the phone, put"
12"It chimed again, nearer, and"
13"It stood with the stillness"
14"She put the beam on"
15"She lowered the light, and"
16"She put a hand on"
17"It rose under her palm"
18"she told the ring"
19"Her voice came out steadier"
ratio0.306
93.06% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences124
matches
0"There should have been twelve."
1"Rory counted them twice, torch"
2"She put it down to"
3"The order had come into"
4"Delivery address: The Old Ring,"
5"Yu-Fei had laughed and called"
6"That card said, Wear it"
7"You don't argue with post"
8"Tonight's note said: Come alone."
9"Whatever calls your name, hold"
10"Her watch had said 11:53."
11"Wildflowers crowded right up to"
12"She'd written them on the"
13"It was the entire job"
14"Her voice fell into the"
15"She was halfway round before"
16"Every head in the clearing"
17"The roses nearest her had"
18"The hawthorn gap glowed faint"
19"She gave it a nod"
ratio0.734
40.32% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences124
matches
0"Now it pulsed."
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount1
matches
0"Stone again, and the meadow between them bowed flat, a long ripple running away from her through the closed roses as if some enormous flat hand were smoothing t…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount0
fancyTags(empty)
dialogueSentences11
tagDensity0.273
leniency0.545
rawRatio0
effectiveRatio0
95.3270%