Run: 2026-09-02-01M1H5AV6H5H8D6C2KDRCEJB2Y

Run Details

Duration:
49.0s
Cost:
$0.000467
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 gate stone was warm when I shouldn't have been able to feel warmth through my gloves. I pressed my palm flat against the ancient oak anyway, half expecting it to flinch. It didn't. The bark pulsed under my fingers, slow and patient, like something enormous asleep with its back against the wood. "Right," I said to nobody. "In and out. Find the marker. Leave." Nobody answered. That was the first wrong thing, actually. Silas had promised the Grove was never silent at night. Crickets, he said. Nightjars. The Fae equivalent of tinnitus. What I got instead was nothing, a held breath stretching from the standing stones to the treeline and back again. The Heartstone pendant shifted against my sternum. Not the usual gentle pulse, more insistent, like a heart picking up pace two ribs away from mine. Near a Hel portal, it warmed. Near a Hel portal it did not, as a rule, throb. I clipped the silver chain to my belt loop instead of my neck. Better that the thing stayed a tool. Tools couldn't whisper. The wildflowers parted around my boots as I crossed the clearing. Foxgloves. Snowdrops. A scatter of poppies that had no business blooming in November, all of them leaning, just slightly, toward the path I was taking. My torch beam swung across the grass and found dew drops hanging in the air where no dew should hang, caught mid-fall, suspended like beads on invisible wire. I kept walking. Dymas's instructions had been simple enough, scrawled in handwriting that looked like it had been done left-handed on a train: The third stone. The one split by lightning. Look beneath the roots. And Rory, whatever hears you, do not answer it. Third stone. Split by lightning. Easy. Except the grove had stopped cooperating with geometry. I'd passed the split oak twice now. I was sure of it. The scar ran down its trunk like an old tear, blackened wood silvered at the edges, and both times the pendant had throbbed a beat later than it should have, as if it were remembering to warn me rather than reacting to anything at all. The third time I found the tree, the split had widened. Not much. A finger's width. But on my previous two visits the halves had been pressed together like a healed wound, and now something gaped there, dark and vertical, the torch light going into it and not coming back. I did not answer the thing that heard me. But it seemed only fair that I be allowed to listen. Footsteps. Behind me and to the left, unhurried, barefoot on grass. The cadence was almost human, almost, with a hitch in it, a little stumble of rhythm, like someone who'd only ever read about walking. I turned the torch. Empty grass. The flowers nearest the sound had all turned their faces away. "Looking beneath the roots," I said out loud, because my voice needed the reassurance of existing. It came out thinner than I wanted, swallowed at the edges by that perfect, expectant silence. I knelt at the base of the split oak. The roots rose from the soil in knotted grey coils, and between two of them the earth had sunk into a shallow depression, recently disturbed, the soil dark and loose. I dug with my fingers. Cold, wet, the smell of it like pennies and old cellars. An inch down, my nails struck something smooth. Bone. A fragment, pale as china, curved like a knuckle. And beneath it, folded in oilcloth gone stiff with age, a rectangle the size of a playing card. I unwrapped it by torchlight. A photograph. A standing stone, this stone, and in front of it a woman in a long dark coat. She faced the camera with her chin up and her hands at her sides, and her hair was shoulder-length and black, and her eyes, even in faded sepia, even ninety years old if they were a day, were bright blue. My scar itched. The crescent on my left wrist, the one from the childhood accident, the one I'd never been able to explain to anyone's satisfaction, burned like a lit cigarette end. I stood up too fast and the world tilted sideways. The grove had moved. Not the trees. The arrangement. The split oak now stood where the clearing's edge should be, and behind it, where the open grass had been, there was forest, dense and grey-barked and leaning inward. All of it leaning inward. The wildflowers at my feet were closing, one by one, petals folding like shutting eyes. The pendant went from warm to hot. I yanked it free of my belt and it sat in my gloved palm glowing that faint inner crimson, brighter now, rhythmic, matching, I realised with a lurch, my own heartbeat. It had been matching my heartbeat since I knelt down. It had been leading it. "Oh, that's not yours," said a voice from the treeline. "That's been yours since before you were born, dear." I didn't look up. Dymas's rule sat in my skull like a splinter: whatever hears you, do not answer it. But nothing had said I couldn't answer myself, and the voice, that was the wrong thing, the worst thing so far, because it had my vowels. My flat Cardiff consonants worn slightly smoother, like my own voice played back after a long day, softened by something that didn't use its throat the way I used mine. I put the bone fragment in my pocket. I put the photograph in my pocket. I picked a direction, any direction, and walked. The footsteps fell in behind me. Matching my stride exactly, and when I stopped, they stopped one beat late. The trees thinned ahead, which was a mercy, and then the standing stones rose up out of the dark, a full circle of them, which was not a mercy, because the Grove's boundary was a handful of old oaks, five at most, and this circle held eleven stones, tall as doorways, and every one of them was split down the middle. Eleven lightning scars. Eleven vertical gaps, each one a shade darker than the night around it. The pendant was burning now, actually burning, I could smell singed leather through the glove, and my heartbeat sped to match it, and behind me the footsteps stopped. "You shouldn't have dug," my voice said, closer than it had any right to be. "But you were always going to. That's rather the point of you." I turned around after all. Rules were for people who had better options. The grove was empty. The grove was empty except for the wildflowers, which had all turned to face me again, and except for my own footprints in the dew, which doubled back toward the split oak in a neat line, made by no one, going the wrong way. The pendant gave one enormous pulse, hard enough to yank the chain through my fingers, and pointed, dragging my hand with it, toward the nearest open split in the nearest stone. Something inside the gap exhaled. Warm. Delighted. My phone buzzed in my coat pocket. One bar of signal, here, in a place that had never once had signal. A message from Silas, timestamped three days from now: *Get out of the circle, Rory. That's not the grove you walked into. And whatever comes out with you, do NOT let it hear you scream.*
created_at"2026-09-02T13:36:00.73Z" 9/2/2026, 1:36:00 PM
model"z-ai/glm-5.3-flash-20260826"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1556
moderation_latency(null)
generation_time48957
tokens_prompt4387
tokens_completion1777
native_tokens_prompt4134
native_tokens_completion1612
native_tokens_completion_images(null)
native_tokens_reasoning36
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)
usage0.00046729
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788356160-iZDMkFlOJYXhDI7rXmvN"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788356160-ZVEpGTSPl6z5Wjotj7Zv"
upstream_id"2026090221360077a01b70230345c8"
provider_responses
0
endpoint_id"8e9fe48b-2f91-41c3-a8a7-e4a93a8c4ff0"
id"2026090221360077a01b70230345c8"
is_byokfalse
latency1556
model_permaslug"z-ai/glm-5.3-flash-20260826"
provider_name"Z.AI"
status200
total_cost0.00046729
cache_discount0.00049152
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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)
dialogueSentences7
tagDensity0.429
leniency0.857
rawRatio0
effectiveRatio0
91.95% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1243
totalAiIsmAdverbs2
found
0
adverb"slightly"
count2
highlights
0"slightly"
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)
43.68% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1243
totalAiIsms14
found
0
word"warmth"
count1
1
word"pulsed"
count1
2
word"pulse"
count2
3
word"throb"
count1
4
word"whisper"
count1
5
word"throbbed"
count1
6
word"footsteps"
count3
7
word"perfect"
count1
8
word"silence"
count1
9
word"rhythmic"
count1
10
word"lurch"
count1
highlights
0"warmth"
1"pulsed"
2"pulse"
3"throb"
4"whisper"
5"throbbed"
6"footsteps"
7"perfect"
8"silence"
9"rhythmic"
10"lurch"
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
narrationSentences104
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences104
filterMatches
0"hear"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences107
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen61
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords26
totalWords1243
ratio0.021
matches
0"Get out of the circle, Rory. That's not the grove you walked into. And whatever comes out with you, do NOT let it hear you scream."
97.22% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions1
matches
0"Crickets, he said."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions12
wordCount1202
uniqueNames8
maxNameDensity0.17
worstName"Grove"
maxWindowNameDensity1
worstWindowName"Hel"
discoveredNames
Grove2
Fae1
Heartstone1
Hel2
November1
Rory2
Cardiff1
Silas2
persons
0"Grove"
1"Rory"
2"Silas"
places
0"Hel"
1"November"
2"Cardiff"
globalScore1
windowScore1
74.24% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount2
matches
0"looked like it had been done left-handed"
1"seemed only fair that I be allowed to listen"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1243
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences107
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs36
mean34.53
std22.09
cv0.64
sampleLengths
017
136
212
348
442
523
664
73
841
96
1065
1111
1239
1320
1435
1517
1671
1724
1892
1932
2014
2154
2253
2319
2476
2523
2619
2777
2828
2927
3013
3148
3231
337
3430
3526
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences104
matches
0"been pressed"
93.05% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs187
matches
0"was taking"
1"were remembering"
2"was burning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences107
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1206
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.03565505804311774
lyAdverbCount8
lyAdverbRatio0.006633499170812604
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences107
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences107
mean11.62
std10.91
cv0.939
sampleLengths
017
115
22
319
45
57
62
77
810
93
101
115
1220
137
1418
156
1611
1713
187
193
2011
211
221
2323
2428
253
2623
275
284
299
302
313
321
338
347
355
3645
3711
382
393
4034
419
4211
431
4410
4524
464
472
4811
4916
60.44% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.42990654205607476
totalSentences107
uniqueOpeners46
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences89
matches(empty)
ratio0
94.16% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences89
matches
0"I pressed my palm flat"
1"I said to nobody"
2"I clipped the silver chain"
3"My torch beam swung across"
4"I kept walking."
5"I'd passed the split oak"
6"I was sure of it."
7"I did not answer the"
8"I turned the torch."
9"I said out loud, because"
10"It came out thinner than"
11"I knelt at the base"
12"I dug with my fingers."
13"I unwrapped it by torchlight."
14"She faced the camera with"
15"My scar itched."
16"I stood up too fast"
17"I yanked it free of"
18"It had been matching my"
19"It had been leading it."
ratio0.315
94.83% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount65
totalSentences89
matches
0"The gate stone was warm"
1"I pressed my palm flat"
2"The bark pulsed under my"
3"I said to nobody"
4"That was the first wrong"
5"Silas had promised the Grove"
6"Crickets, he said."
7"The Fae equivalent of tinnitus."
8"The Heartstone pendant shifted against"
9"I clipped the silver chain"
10"Tools couldn't whisper."
11"The wildflowers parted around my"
12"A scatter of poppies that"
13"My torch beam swung across"
14"I kept walking."
15"Dymas's instructions had been simple"
16"The one split by lightning."
17"I'd passed the split oak"
18"I was sure of it."
19"The scar ran down its"
ratio0.73
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences89
matches(empty)
ratio0
57.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount5
matches
0"A scatter of poppies that had no business blooming in November, all of them leaning, just slightly, toward the path I was taking."
1"The scar ran down its trunk like an old tear, blackened wood silvered at the edges, and both times the pendant had throbbed a beat later than it should have, as…"
2"My flat Cardiff consonants worn slightly smoother, like my own voice played back after a long day, softened by something that didn't use its throat the way I us…"
3"The trees thinned ahead, which was a mercy, and then the standing stones rose up out of the dark, a full circle of them, which was not a mercy, because the Grov…"
4"The grove was empty except for the wildflowers, which had all turned to face me again, and except for my own footprints in the dew, which doubled back toward th…"
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)
dialogueSentences7
tagDensity0.429
leniency0.857
rawRatio0
effectiveRatio0
86.9133%