Run: 2026-09-02-01M1GVCE9K1YHFP0F182XYE5GC

Run Details

Duration:
11m 18s
Cost:
$0.090975
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
The stones counted wrong. Rory counted them twice, thumb pressed to the pendant's silver chain to keep her hands honest. Seven oaks the first time, standing in a ring on the frosted rise above the ponds. Six the second. She walked the full circle and found no stump, no socket, no scar in the grass where a seventh oak could have gone. "Once more, Carter. Slowly." Seven. Then she blinked, and the stone beside her wore a different shape, a lower shoulder, a lean to the left, as if the ring had rearranged itself while her eyes were shut. The note had said seven. Cream paper, unsigned, slid under her door before dawn. "Richmond Park. The old oaks, past the ponds. Come tonight. Come alone. Bring the stone." Looping, old-fashioned handwriting, brown as old tea, and when she had read it the pendant pulsed against her sternum, once, warm as a held breath, like a fingertip tapping glass from the inside. Nobody had ever explained the pendant. Three weeks ago it had turned up on her doorstep in a little box, deep red stone on a silver chain, no card, no sender. She had worn it every day since, because it was beautiful, and because throwing away a gift that deliberate felt worse than keeping it. She should have told someone about the note. The thought had teeth. Eva would have come. Silas would have chained up the bar and come too, and that was the trouble with friends, they came, and the note had underlined "alone" twice, hard enough to score the paper. So she had come alone. The night bus had let her off at the edge of Richmond with the pendant hanging warm as bathwater, and by the ponds it beat. She had gone over the park wall at Petersham with the Stanley knife from work zipped in her jacket and the torch in her fist, and halfway across the dark the deer had found her. A loose ring of them, thirty or more, heads all turned the same way, toward the rise, toward the stones. Not one of them had looked at her. She had walked straight through the middle of that circle with her keys between her knuckles, and when she glanced back from the slope, the herd had gone, all of it, swallowed without a single hoofbeat. Now the oaks. And the frost stopped in a line. Between two of the stones, November ended. Inside the ring the grass grew deep and green as June, and flowers carpeted the clearing, hundreds of them, white bells on straight stems, open against the cold as if cold had never been invented here. The air reached her warm as a greenhouse and smelled of honey, and under the honey ran something sweeter and less clean, sweet the way a wound turns when you leave it too long. She stood at the boundary with the torch raised. Old rules from the delivery rounds: note the exits, note the dogs, never cross a threshold you haven't been invited over. "Nobody invited me." Her voice went out flat and came back thinner. She stepped through anyway, because the pendant pulled, and because a stranger who knew about the stone was a loose end she wanted tied. The silence arrived before her second footfall. True silence. It took her a dozen steps to name what was wrong with it, because London never gives you nothing. There is always a hum underneath everything, a plane, the far-off growl of the South Circular, a fox shrieking in someone's bins. Here there was her breath, her pulse, and then a weight on her eardrums like deep water, as if the whole grove had its ear pressed against her. Her footsteps came back wrong. Tap, tap, tap on the soft ground, and underneath, half a beat late, a second set, lighter, setting down exactly where hers had been. She stopped. The second step landed once, softly, a full second after she had gone still. The pendant pulsed. She felt it through two layers of cotton, quick and hard, a small second heart above her own. "Okay. Someone's walking behind me in a locked park at midnight. Fine. Say something." Nothing said anything. Her torch beam crossed the flowers instead, and the nearest bells moved, each white head swivelling on its stem, slow as a sundial, following the light. Following her. She spun to check the ones behind her. Already turned. All of them, hundreds, the whole carpet of bells aimed at her like ears. Her thumb found the crescent scar on her left wrist and rubbed it, an old habit from further back than she cared to reach. She dug out her phone, because Eva would want pictures, and because a photograph was a thing she could hold in a world that had stopped behaving. The screen said 3:36. She had come over the wall at half eleven. The battery read thirty per cent, down from eighty on the bus. The phone died between one second and the next. The torch held its beam, so the fault sat with the grove and not with her head. She backed toward the centre of the ring, sweeping the light low. Between the two tallest oaks, the beam stopped. Not dimmed. Stopped, the light going in and never coming back, a patch of air roughly door-shaped that ended in a clean edge. She moved the torch left, then right, and the edge stayed put. Shadow lives on surfaces. This was absence with a shape to it, taller than she was, and she remembered that gap. She had looked straight through it at the rise beyond on her way in. She flicked a fifty-pence piece toward it, the way you lob a stone over a garden wall to find out about the dog. The coin crossed the edge of the dark and made no sound. No strike, no roll, no settle in the grass. The grove took it the way the sea takes a gull. The pendant hammered. Beneath her own pulse and the stone's quick beat, a third rhythm rose from the door-shaped dark, slow and enormous, patient as a drum under a floor. Three pulses out of step. Then, while she stood there with her breath frosting in greenhouse air, the three of them slid into time with each other. Beat. Beat. Beat. One rhythm, shared. "No. I'm not part of this." She walked fast for the gap she had come through, and the gap was flowers. She counted the stones from inside, got eight, and turned a full circle. Every gap between them showed white bells and warm green and more grove beyond. Not one showed frost, or the ponds, or the low orange glow of the city she had climbed a wall to reach. The flowers nearest the dark began to turn from her. Row by row, the bells bent toward the gap between the oaks, heads bowing, a congregation rising to face its altar, and the honey smell curdled at the edges into something ripe and meaty. A strand of hair stuck to her lip. Sweat, in November, in a locked park. The Stanley knife in her pocket felt like something out of a cracker. She gripped it anyway. "Malphora." The word came out of the dark between the oaks and moved through the grove the way a stone moves through still water, ring after ring after ring. Her legs locked. Nobody in England knew that name. She had buried it with her old life and never said it aloud since, not alone, not drunk, not into a pillow. Even Evan had never known it. "Malphora." The voice came from behind her now, close enough to stir the fine hairs at her ear, warm as the pendant, though nothing stood in the torchlight and the flowers between her and the sound stayed bowed the other way. "You wore my gift. I felt you the moment you clasped it. Three nights of knocking, child. Did you feel me knocking?" "Who are you?" "Older than those stones. Younger than your name." "That's not an answer." "It is the only one that fits in your mouth." The pendant went still against her chest. Still for the first time in three days, the way a held breath is still, the way a listener is still. "Turn around. Let me look at what I've made." The bells began to close, from the rim of the grove inward, a tide of white mouths shutting one by one, and the warmth drained out of the air fast enough that her breath smoked. The torch beam thinned, greyed, shrank to a thread, and died. She turned, though nothing in her had decided to.
created_at"2026-09-02T10:42:07.295Z" 9/2/2026, 10:42:07 AM
model"z-ai/glm-5.3-20260816"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6111
moderation_latency(null)
generation_time677505
tokens_prompt4387
tokens_completion21900
native_tokens_prompt4134
native_tokens_completion20422
native_tokens_completion_images(null)
native_tokens_reasoning18620
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)
usage0.09097496
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provider_responses
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latency6111
model_permaslug"z-ai/glm-5.3-20260816"
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data_region"global"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences14
tagDensity0.214
leniency0.429
rawRatio0
effectiveRatio0
93.16% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1461
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"softly"
count1
highlights
0"slowly"
1"softly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
62.35% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1461
totalAiIsms11
found
0
word"pulsed"
count2
1
word"silence"
count2
2
word"footfall"
count1
3
word"pulse"
count2
4
word"weight"
count1
5
word"footsteps"
count1
6
word"flicked"
count1
7
word"warmth"
count1
highlights
0"pulsed"
1"silence"
2"footfall"
3"pulse"
4"weight"
5"footsteps"
6"flicked"
7"warmth"
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
narrationSentences97
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences97
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1461
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions17
wordCount1360
uniqueNames12
maxNameDensity0.22
worstName"Beat"
maxWindowNameDensity1.5
worstWindowName"Beat"
discoveredNames
Richmond1
Petersham1
Stanley2
November2
June1
London1
South1
Circular1
Eva2
England1
Evan1
Beat3
persons
0"Stanley"
1"Eva"
2"Evan"
places
0"Richmond"
1"Petersham"
2"London"
3"England"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount1
matches
0"felt like something out of a cracker"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1461
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences108
matches
0"remembered that gap"
1"knew that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs37
mean39.49
std30.89
cv0.782
sampleLengths
04
158
24
333
462
555
648
7129
810
977
1030
113
1233
1378
1445
1521
1614
1755
1876
1926
2090
2155
2263
236
2464
2576
261
2765
2863
293
308
314
3210
3328
349
3546
369
98.03% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences97
matches
0"been invented"
1"been invited"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs197
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences108
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1365
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.024175824175824177
lyAdverbCount3
lyAdverbRatio0.002197802197802198
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean13.53
std10.62
cv0.785
sampleLengths
04
116
216
33
423
54
61
732
85
99
1048
116
1225
1324
148
154
164
1732
185
1925
2035
2120
228
2336
243
257
267
2736
2834
299
3021
313
329
3324
347
352
3619
3722
3828
395
4024
412
4214
433
4418
4514
463
4726
482
498
67.90% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.46296296296296297
totalSentences108
uniqueOpeners50
75.76% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences88
matches
0"Then she blinked, and the"
1"Then, while she stood there"
ratio0.023
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences88
matches
0"She walked the full circle"
1"She had worn it every"
2"She should have told someone"
3"She had gone over the"
4"She had walked straight through"
5"She stood at the boundary"
6"Her voice went out flat"
7"She stepped through anyway, because"
8"It took her a dozen"
9"Her footsteps came back wrong."
10"She felt it through two"
11"Her torch beam crossed the"
12"She spun to check the"
13"Her thumb found the crescent"
14"She dug out her phone,"
15"She had come over the"
16"She backed toward the centre"
17"She moved the torch left,"
18"She had looked straight through"
19"She flicked a fifty-pence piece"
ratio0.295
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount63
totalSentences88
matches
0"The stones counted wrong."
1"Rory counted them twice, thumb"
2"She walked the full circle"
3"The note had said seven."
4"Cream paper, unsigned, slid under"
5"Nobody had ever explained the"
6"She had worn it every"
7"She should have told someone"
8"The thought had teeth."
9"Eva would have come."
10"Silas would have chained up"
11"The night bus had let"
12"She had gone over the"
13"A loose ring of them,"
14"She had walked straight through"
15"The air reached her warm"
16"She stood at the boundary"
17"Her voice went out flat"
18"She stepped through anyway, because"
19"The silence arrived before her"
ratio0.716
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences88
matches
0"Now the oaks."
1"Even Evan had never known"
ratio0.023
98.21% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount3
matches
0"Then she blinked, and the stone beside her wore a different shape, a lower shoulder, a lean to the left, as if the ring had rearranged itself while her eyes wer…"
1"Inside the ring the grass grew deep and green as June, and flowers carpeted the clearing, hundreds of them, white bells on straight stems, open against the cold…"
2"Here there was her breath, her pulse, and then a weight on her eardrums like deep water, as if the whole grove had its ear pressed against her."
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
totalTags0
96.5137%