Run: 2026-09-02-01M1GWCESN1VB16J9BN3H0ET8P

Run Details

Duration:
9m 56s
Cost:
$0.083812
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 padlock on Petersham Gate hung fat with rust, and the pendant seared Rory's sternum like a live coal as she went over the bars. She dropped into the bracken beyond and crouched there, listening. Her breath came loud. Her blood came louder. Three weeks ago the pendant had been a curio, a crimson stone no bigger than a thumbnail on a silver chain, a gift from nobody that she wore because it matched her one good coat. Then it had begun to warm. Then to pulse. Tonight it pulled at her chest like a hooked fish pulls a line, and Richmond Park lay between her and whatever held the other end. She'd found the note that evening, folded into her tips at the Golden Empress, tucked between a tenner and a receipt for spring rolls. Cream paper with the weight of a banknote. Handwriting like an old hymn book. 'Malphora. The stone has ripened. Bring it to the old oaks in Richmond before the moon sets. Come alone. Tell no one, least of all the barman. The scar will ache when you are near. Don't be frightened of it. It only wants to say hello.' No signature. One pressed flower inside the fold, a dog violet, soft as if picked that morning. In November. On the night bus she'd built herself three rules, the way her father built cases. One, stay on the road. Two, look from a distance. Three, leave at the first strange thing. She'd also meant to knock on Silas' door before she went, and had stood outside it with her knuckles an inch off the wood. The note said no. So she'd told nobody anything. That obedience scared her worse than the dark did. It was the name that had hooked her deepest. Malphora. Never heard in her life, and it had still dropped into her like a coin down a deep well, falling and falling until it rang off something at the bottom. A name nobody had given her, that fitted her the way the crescent scar on her wrist fitted her, familiar in a way she could never defend in court. She broke rule one inside twenty minutes. The pendant hauled her off the road and across the grass, and the park let her go without comment. Richmond should hum at night. The far wash of the A3, a plane ticking over, wind combing the bracken. Instead the park sat silent as a courtroom before the verdict. Her footsteps rang off the tarmac like the last sound left in the world, so she took to the leaves, and the leaves gave her an echo. A second footfall. Hers, then its, half a beat late. She stopped. It stopped, half a beat late. She stood with the torch up and counted her heartbeats the way her father counted objections. Eleven. Twelve. Thirteen. "Fine. Come out, then." Nothing. She stepped back onto the tarmac and walked ten paces. No echo. Onto the leaves. Echo. Off the leaves, and the echo arrived one last time, late, like a performer who'd missed the curtain call. Then it stopped altogether, and the silence that followed listened back. The deer came next. Fallow does, thirty or more, scattered down the slope in her torchlight, every one of them facing the same direction. Not grazing. Not chewing, and deer chew the way the tide comes in, constant and patient. Their eyes caught the beam and handed it back green, paired beads of glass in the dark, dozens of pairs, all of them fixed on her. She walked the line of them with her breath held and the torch aimed low. Their heads turned to follow her, smooth and silent, one after another after another, the way security cameras track a car park. Not one of them blinked. Behind her, once she'd passed, the whole herd shifted together, a single ripple through thirty bodies, and went still again. Then the blackbird started to sing. Full territorial anthem, March-loud, at one in the morning in November. A robin answered. A wren, enormous for its size. A thrush. A dawn chorus rising out of the black trees in every direction, every bird in Richmond singing its throat raw for a sun nine hours away. She stood in the middle of it with her fists down and her jaw tight, and the chorus cut off mid-phrase. All of it. At once. Like a needle lifted off a record. In the new silence a single leaf came down somewhere through the branches, and it landed with the weight of a body. The moon hung low and orange above the oaks ahead, fat and sinking. Before the moon sets. She hurried, and the pendant heated with every stride. She saw the stones through the trees and stopped breathing altogether. Seven of them stood in a ring the size of a chapel, each taller than two men, each one a tree that had turned to stone. The wood's grain still ran through the rock, whorls and bark and the black knot of a lost branch, grey now, and older than the park around it and looking it. Frost furred the ground on every side, silver to the treeline. Inside the ring the frost stopped, as if at a wall. Inside the ring, flowers were blooming. Warm air rolled over the boundary towards her, thick with honey and cut grass, and under that something older, the green breath of a riverbank. She reached out one hand before she could talk herself out of anything, and her palm met a soft resistance, like the skin on warm milk. Her ears popped. She stepped through into June. The light in there was a June dusk with the sun removed. No source, no clouds, just a grey-gold glow that came out of the air itself. She looked up for the orange moon and found a blank, tender sky, no moon and no stars, though the moon had hung over those very oaks two minutes before. Behind her, the gap she'd come through showed dark trunks and nothing else. She had no way left to tell whether she stood early or catastrophically late. The flowers reached her shins. Foxgloves, cow parsley, thrift, dog violets, a whole bank of them out of season, open and fresh. Every single one of them faced her. She stepped left. The heads turned with a rustle, soft as flicked pages. She raised her hand and waved it, and a hundred small faces followed, polite as an audience. She lowered the hand. The flowers went on looking. "Okay. Noted." At the gate her phone had read 00:47. It read 03:44 now. The battery, sixty-one percent on the bus, sat at nineteen. No signal. And when she raised the torch, the beam bent, curving gently off to the right before it reached the nearest stone, the way light bends around something heavy. Her wrist ached. The little crescent scar had gone warm, then hot, and it throbbed in time with the pendant now, a second pulse under the skin. Hello, hello, hello. "'It only wants to say hello,'" she said. "Right. Brilliant." The flowers cleared at the heart of the ring, a clean border around a circle of bare dark earth, and in the middle of the earth lay a pool. Round as a coin. Black, still, the size of a dinner table. No stream fed it and no stream left it. The pendant slammed against her sternum, pulse upon pulse, quick as a bird's heart, its deep red glow shining through her shirt. She crouched at the edge, and the water gave the grove back to her wrong. In the water the sky was black and full of stars, a proper winter sky, with the orange moon low in it, though no moon hung over the grove. In the water every flower faced away from her. And in the water, in the seven gaps between the seven stones, figures stood. Tall, thin, patient as herons, each one angled towards the pool. They had been there the whole time. The water was the only thing with the manners to say so. She raised her phone with a steady hand, because her father had taught her that evidence calms a witness, and she photographed the pool. On the screen, seven stones, and the gaps between them full. She looked up. Empty grove, empty gaps, every flower facing her again. She looked down at the screen. Full. The battery read eleven while she watched, then four. "That's not..." In the reflection, the nearest figure raised one hand. A small wave. The fingers went on too long. She stood and spun, torch up. Nothing. Seven stones, seven empty gaps, the grey-gold air. But the flowers between her and the nearest stone lay pressed flat in a broad lane, bent stems smoothing themselves upright again, slow, like grass recovering from something that had stood there a long while. The pendant went cold between one heartbeat and the next. Cold, and heavier, the way a bed gets heavier when someone sits on it. Under her boots the bare earth thumped once, gently. Not a quake. A footstep, far below, enormous and patient, shifting its weight. "There you are." Behind her. Close. A woman's voice, unhurried and warm as a struck match. The flowers turned away from her all at once, a thousand small faces swinging towards the stones, all together, in one motion. "You stand just like your mother did. Same wrists." Rory turned around.
created_at"2026-09-02T10:59:36.39Z" 9/2/2026, 10:59:36 AM
model"z-ai/glm-5.3-20260816"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2034
moderation_latency(null)
generation_time596265
tokens_prompt4387
tokens_completion20170
native_tokens_prompt4134
native_tokens_completion18794
native_tokens_completion_images(null)
native_tokens_reasoning16801
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)
usage0.08381176
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
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request_id"req-1788346776-jhvlDRlMxRgSRLsIxXYH"
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api_type"completions"
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provider_responses
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endpoint_id"db975786-e7f6-4838-9e56-3e0b77f1bdc2"
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is_byokfalse
latency2034
model_permaslug"z-ai/glm-5.3-20260816"
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provider_name"Z.AI"
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data_region"global"
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Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags2
adverbTagCount1
adverbTags
0"She'd also [also]"
dialogueSentences7
tagDensity0.286
leniency0.571
rawRatio0.5
effectiveRatio0.286
90.57% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1591
totalAiIsmAdverbs3
found
0
adverb"very"
count1
1
adverb"gently"
count2
highlights
0"very"
1"gently"
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)
43.43% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1591
totalAiIsms18
found
0
word"pulse"
count4
1
word"weight"
count3
2
word"familiar"
count1
3
word"footsteps"
count1
4
word"echo"
count4
5
word"footfall"
count1
6
word"silence"
count2
7
word"flicked"
count1
8
word"throbbed"
count1
highlights
0"pulse"
1"weight"
2"familiar"
3"footsteps"
4"echo"
5"footfall"
6"silence"
7"flicked"
8"throbbed"
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
narrationSentences145
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences145
filterMatches(empty)
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences152
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1591
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions16
wordCount1543
uniqueNames10
maxNameDensity0.26
worstName"Richmond"
maxWindowNameDensity1
worstWindowName"Richmond"
discoveredNames
Petersham1
Gate1
Rory2
Richmond4
Park1
Golden1
Empress1
November2
March-loud1
June2
persons
0"Rory"
1"Empress"
places
0"Richmond"
1"Park"
2"Golden"
3"November"
4"June"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1591
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences152
matches
0"picked that morning"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs41
mean38.8
std23.93
cv0.617
sampleLengths
025
187
238
346
419
574
669
726
857
937
104
1147
1266
1362
1454
1555
1626
1779
1817
1959
2084
2129
2239
232
2452
2530
2610
2750
2822
2953
3044
3163
322
3318
3450
3546
363
3713
3822
399
403
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences145
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs210
matches
0"were blooming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences152
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount164
adjectiveStacks0
stackExamples(empty)
adverbCount5
adverbRatio0.03048780487804878
lyAdverbCount1
lyAdverbRatio0.006097560975609756
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences152
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences152
mean10.47
std8.6
cv0.821
sampleLengths
025
110
24
34
435
56
63
725
824
98
106
111
124
1312
142
158
168
175
186
192
2015
212
2215
235
245
257
2624
274
285
299
309
311
3230
3329
347
3519
365
3714
3811
3927
403
417
422
436
4416
451
461
471
484
491
64.69% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.4276315789473684
totalSentences152
uniqueOpeners65
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences125
matches
0"Then it had begun to"
1"Then to pulse."
2"Instead the park sat silent"
3"Then it stopped altogether, and"
4"Then the blackbird started to"
ratio0.04
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences125
matches
0"She dropped into the bracken"
1"Her breath came loud."
2"Her blood came louder."
3"She'd found the note that"
4"It only wants to say"
5"She'd also meant to knock"
6"It was the name that"
7"She broke rule one inside"
8"Her footsteps rang off the"
9"Hers, then its, half a"
10"It stopped, half a beat"
11"She stood with the torch"
12"She stepped back onto the"
13"Their eyes caught the beam"
14"She walked the line of"
15"Their heads turned to follow"
16"She stood in the middle"
17"She hurried, and the pendant"
18"She saw the stones through"
19"She reached out one hand"
ratio0.28
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount75
totalSentences125
matches
0"The padlock on Petersham Gate"
1"She dropped into the bracken"
2"Her breath came loud."
3"Her blood came louder."
4"Tonight it pulled at her"
5"She'd found the note that"
6"Cream paper with the weight"
7"The stone has ripened."
8"Tell no one, least of"
9"The scar will ache when"
10"It only wants to say"
11"She'd also meant to knock"
12"The note said no."
13"That obedience scared her worse"
14"It was the name that"
15"A name nobody had given"
16"She broke rule one inside"
17"The pendant hauled her off"
18"Richmond should hum at night."
19"The far wash of the"
ratio0.6
40.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences125
matches
0"Before the moon sets."
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount2
matches
0"A name nobody had given her, that fitted her the way the crescent scar on her wrist fitted her, familiar in a way she could never defend in court."
1"But the flowers between her and the nearest stone lay pressed flat in a broad lane, bent stems smoothing themselves upright again, slow, like grass recovering f…"
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)
dialogueSentences7
tagDensity0.143
leniency0.286
rawRatio0
effectiveRatio0
91.2899%