Run: 2026-09-02-01M1HGMA94C7W7AZAH20VZFYGB

Run Details

Duration:
2m 48s
Cost:
$0.007053
Provider:
Alibaba

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 pendant burned against Rory's collarbone, and she knew the job was wrong before she cleared the gate. The courier bag slipped from her shoulder. Inside the insulated sleeve, the sealed container knocked once against the plastic, then again, like a small animal testing the walls of a jar. She had taken it from the pass at Golden Empress twenty minutes ago. Yu-Fei Cheung set the box on the counter with both hands and did not touch the lid. "Richmond Grove." "Richmond what?" "The Grove." Yu-Fei's fingers stayed flat on the counter. "Leave it at the third stone. Don't wait for payment." "Who is the customer?" "That is not part of the order." The note beneath the box carried no address, only a name that had made Rory's fingers go cold. Eva. Under it, two words in pencil, bring the stone. She had not wanted to come. She had come anyway. The path narrowed between pines. The bike's tyres hissed over wet leaves, then the surface changed under them, from tarmac to packed earth, to soft grass that did not crunch. Her torch beam moved in a white cone, and everything outside it looked as if it had been swallowed whole. The gate appeared without warning. It was old iron, low and square, hung between two oak trunks. No padlock. No hinges. The bars bent inward, as if something had squeezed through and failed. Rory stopped the bike. The pendant pulsed, a faint warmth in the deep crimson stone the size of her thumbnail. She pressed two fingers to the crescent scar on her left wrist and looked past the gate. The Grove opened in a clearing the trees did not deserve. A circle of oak standing stones waited around a mound of moss. Some were taller than her, some half buried, their tops split and darkened by age. Wildflowers covered the grass in thick drifts, white clover, blue hyacinth, pale yellow primroses, flowers that should have known winter and did not. A few turned as she approached. The flowers had no stem movement. They simply changed direction. "Right." Rory pulled her jacket closed and stepped through the gate. The bike wheel sank to the axle in soft ground. She left it standing. The chain from the pendant clicked against her jacket. "Rory." The word came from the nearest stone. She stopped. "That's not funny." Silence. Then grass brushed against the back of her knee. She spun. Nothing. "Rory." This time the voice came from the left, but it arrived in her head one second after its source, as if someone were reading her name from a page she could not see. "Eva?" The answer was not a voice. The parcel in her bag gave a long, hollow thump. She pulled the bag around. The sealed container sat in the sleeve, but the lid had moved a finger's width. A smell came out of the gap, cold iron and wet snow and the inside of a cellar. Rory backed away. Her boot struck the nearest standing stone. The stone was warm. She checked her phone. No signal. No service. No battery. The screen still shone, displaying the message that had started this nonsense. Grove. Stones. Alone. The letters stayed. Below them, another line crept across the black background one letter at a time. Run. Rory looked up. The clearing had changed. The gate was farther than it should have been, a small iron rectangle between trees. The standing stones had closed in around the mound, the gaps between them narrowing by inches that added up to feet. "No." The word came out steady, but her hand did not. It reached for the pendant and found the chain too tight against her throat. The minute hand on her phone twitched. 10:14 became 10:13. Then 10:14. Then 10:13. Then 10:11. Then it slid backwards past 10:00, through blank hours, until the numbers rearranged themselves into a shape she almost recognised. Three seven. Seven three. Seven seven. The phone's screen blinked and died. Time moved in the Grove the way water moves under ice, and she was on top of it. Something dragged through the flowers behind her. Rory swung the torch. The beam caught nothing but grass bending back upright, a slow ripple of leaves pretending it had been wind. A petal drifted across the lens, white, then brown, then white again, blooming and dying in the space of a breath. The parcel in her bag thumped once, then went still. She had worked enough late deliveries to know when an order smelled like a trap. Yu-Fei had not looked at her. Silas had been drunk below the bar, laughing too loudly, as if noise could keep something honest away. The note had come from Eva. Eva, who had dragged her out of Cardiff, who had called Evan a problem instead of a warning, who had not answered a text in three weeks. This was not Eva's handwriting. The wind moved through the stones and made a sound like spoons tapping china. Rory forced herself to walk toward the mound. If the job was payment, she would leave it. If it was a trick, she would still leave it and ride out with her spine straight and her mouth shut. She did not run. Running drew attention, and attention had weight. The standing stones whispered when she passed. "Isolde's grove." "Richmond grove." "The Grove." She stopped. Her throat went dry. The names slid around each other like mouths. "Who's here?" A voice answered from directly below her feet. "Whoever brought the key." The parcel split open by itself in her bag. Rory tore the flap shut and dumped the bag into the grass. The container rolled onto its side. The lid fell. Inside lay not food, but a black iron key, long and thin, furred with frost. No steam rose from it. The air around it bent. The pendant burned. Not warmth now. A bright, searing pull against her breastbone. The stone gave a faint glow, crimson and slow, like the heart of a coal. The Heartstone Pendant knew portals. It had done this once before, under Silas' bar, when the cellar door breathed cold and the lock had no keyhole. A Hel portal sat waiting in the oak stone, and the pendant answered it. A seam opened in the oak stone closest to the key. It did not split. It unzipped. Thin black light showed between the grain, and cold air breathed out of it, smelling of iron, snow, old names. The flowers around the base curled away from the seam, then bloomed back toward it as if they could not choose. "Eva." From inside the seam, a voice called, high and wet. "Rory, don't let them see your name." The stones began to turn, one by one, like heavy animals waking. The carved grooves along their faces shifted into mouths, then eyes, then mouths again. The wildflowers closed one by one, as if an invisible hand pressed the petals down. The torch flickered. In its last bright second, Rory saw the shadow at the edge of the clearing. It stood between two trunks, too tall to be a person, too still to be trees. The shadow had no head, but the shape of a woman's coat hung in the place where one should have been. The light died. The darkness after was not empty. She could hear breathing that matched hers exactly, half a beat too slow. She heard her own footsteps in the grass ahead of her, arriving before her feet. She heard the key sliding against the ground as if something invisible were counting. One, two, three, four, a sound that ended with the word Laila. Then another, softer, from the seam. "Malphora." The name made her knees buckle. "No." "Yes." The voice came from Eva's coat at the edge of the clearing, but the words came from the portal, too. "You brought it to the wrong grove, Rory. You were meant for ours." Rory grabbed the pendant and ran for the gate. The clearing stretched. She sprinted through flowers that brushed her boots like fingers. The gate stayed small in the distance. The stones moved around her, not toward her, but with her, keeping pace, always at the edge of her vision. She saw the iron bars pass to her left when she should have seen them ahead. She heard a bike bell ring behind her, clear and cheerful, like a normal thing that had wandered into the wrong story. Then the seam tore wider. The cold that poured out of it lifted her straight black hair at the shoulders. The key rattled across the grass and stopped at the portal's edge. Rory spun. A hand reached through the seam. It was a pale, human hand, long fingered, clean nails, a delivery cuff poking from the sleeve. The Golden Empress logo glowed green on the cuff, soaked through with water. The hand flexed once, then waved, beckoning. Eva's voice came from the portal, clear now, terrified. "Don't touch the stone. Don't let it call you." Rory's feet refused to move. The figure behind the hand pushed through the seam. It wore Eva's black shoulder-length hair and Eva's green raincoat, but it unfolded in pieces, first the shoulders, then the neck, then a face that had Eva's mouth and Rory's bright blue eyes. It looked at the pendant, and its mouth stretched into a smile too wide for the room it should have known. "Rory." The first standing stone lifted from the earth. "Aurora." The second followed. "Carter." The figure tilted its head at the third, and the third stone turned its carved face toward her, and the key slid across the grass into Eva's open palm. It closed its fingers around the key. "Laila. Malphora." Then it looked at Rory and said, "Time for your order."
created_at"2026-09-02T16:53:33.924Z" 9/2/2026, 4:53:33 PM
model"qwen/qwen3.8-flash-20260826"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6088
moderation_latency(null)
generation_time159028
tokens_prompt4387
tokens_completion14116
native_tokens_prompt4441
native_tokens_completion13589
native_tokens_completion_images(null)
native_tokens_reasoning11382
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.00705298
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788368013-4EQww71lKrUYs5dyFvhq"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788368013-ztv8ofGHybsQdl2zJcU2"
upstream_id"chatcmpl-ea983f5d-099a-944e-bbb4-db209dee5669"
provider_responses
0
endpoint_id"84b1e4a7-5aed-4464-818f-1994f0b4ee18"
id"chatcmpl-ea983f5d-099a-944e-bbb4-db209dee5669"
is_byokfalse
latency6088
model_permaslug"qwen/qwen3.8-flash-20260826"
provider_name"Alibaba"
status200
total_cost0.00705298
cache_discount(null)
upstream_inference_cost0
provider_name"Alibaba"
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
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences29
tagDensity0.276
leniency0.552
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1649
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
75.74% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1649
totalAiIsms8
found
0
word"pulsed"
count1
1
word"warmth"
count2
2
word"silence"
count1
3
word"weight"
count1
4
word"searing"
count1
5
word"flickered"
count1
6
word"footsteps"
count1
highlights
0"pulsed"
1"warmth"
2"silence"
3"weight"
4"searing"
5"flickered"
6"footsteps"
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
narrationSentences159
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences159
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences181
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1649
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1546
uniqueNames13
maxNameDensity0.97
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Eva"
discoveredNames
Rory15
Golden2
Empress2
Cheung1
Grove3
Eva10
Cardiff1
Evan1
Heartstone1
Pendant1
Hel1
Laila1
Yu-Fei3
persons
0"Rory"
1"Cheung"
2"Eva"
3"Evan"
4"Pendant"
5"Laila"
6"Yu-Fei"
places
0"Golden"
1"Cardiff"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences105
glossingSentenceCount1
matches
0"smelled like a trap"
78.71% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.213
wordCount1649
matches
0"not food, but a black iron key, long"
1"not toward her, but with her, keeping pace, always at the edge of her vision"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences181
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs91
mean18.12
std19.26
cv1.063
sampleLengths
018
131
230
32
42
519
64
77
828
910
1050
1133
1237
1311
1466
1511
1623
178
182
193
2013
2134
221
2316
2438
2510
264
2722
283
293
3014
311
3243
3325
347
3541
3618
377
3844
3910
4072
415
4214
4349
447
452
462
472
4814
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences159
matches
0"been swallowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs256
matches
0"were reading"
1"were counting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences181
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1006
adjectiveStacks0
stackExamples(empty)
adverbCount32
adverbRatio0.03180914512922465
lyAdverbCount4
lyAdverbRatio0.003976143141153081
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences181
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences181
mean9.11
std7.05
cv0.774
sampleLengths
018
17
224
313
417
52
62
79
810
94
107
1118
121
139
146
154
165
1725
1820
195
2012
212
222
2312
244
2516
2617
2711
2812
2915
3023
316
326
334
3411
3510
364
379
388
392
403
411
429
432
441
4534
461
476
4810
495
32.32% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats32
diversityRatio0.27624309392265195
totalSentences181
uniqueOpeners50
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences136
matches
0"Then grass brushed against the"
1"Then it slid backwards past"
2"Then another, softer, from the"
3"Then the seam tore wider."
4"Then it looked at Rory"
ratio0.037
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences136
matches
0"She had taken it from"
1"She had not wanted to"
2"She had come anyway."
3"Her torch beam moved in"
4"It was old iron, low"
5"She pressed two fingers to"
6"They simply changed direction."
7"She left it standing."
8"She pulled the bag around."
9"Her boot struck the nearest"
10"She checked her phone."
11"It reached for the pendant"
12"She had worked enough late"
13"She did not run."
14"Her throat went dry."
15"It had done this once"
16"It did not split."
17"It stood between two trunks,"
18"She could hear breathing that"
19"She heard her own footsteps"
ratio0.206
33.53% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount116
totalSentences136
matches
0"The pendant burned against Rory's"
1"The courier bag slipped from"
2"She had taken it from"
3"Yu-Fei Cheung set the box"
4"Yu-Fei's fingers stayed flat on"
5"The note beneath the box"
6"She had not wanted to"
7"She had come anyway."
8"The path narrowed between pines."
9"The bike's tyres hissed over"
10"Her torch beam moved in"
11"The gate appeared without warning."
12"It was old iron, low"
13"The bars bent inward, as"
14"Rory stopped the bike."
15"The pendant pulsed, a faint"
16"She pressed two fingers to"
17"The Grove opened in a"
18"A circle of oak standing"
19"Some were taller than her,"
ratio0.853
73.53% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences136
matches
0"If the job was payment,"
1"If it was a trick,"
ratio0.015
52.15% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount8
matches
0"The bike's tyres hissed over wet leaves, then the surface changed under them, from tarmac to packed earth, to soft grass that did not crunch."
1"Her torch beam moved in a white cone, and everything outside it looked as if it had been swallowed whole."
2"Wildflowers covered the grass in thick drifts, white clover, blue hyacinth, pale yellow primroses, flowers that should have known winter and did not."
3"Silas had been drunk below the bar, laughing too loudly, as if noise could keep something honest away."
4"She heard the key sliding against the ground as if something invisible were counting."
5"She sprinted through flowers that brushed her boots like fingers."
6"She heard a bike bell ring behind her, clear and cheerful, like a normal thing that had wandered into the wrong story."
7"It wore Eva's black shoulder-length hair and Eva's green raincoat, but it unfolded in pieces, first the shoulders, then the neck, then a face that had Eva's mou…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount2
matches
0"The word came out, but her hand did not"
1"The voice came, but the words came from the portal, too"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"it looked (look)"
dialogueSentences29
tagDensity0.034
leniency0.069
rawRatio1
effectiveRatio0.069
87.6441%