Run: 2026-09-02-01M1HJCQ5ANM8XH2FJ14E9FWTF

Run Details

Duration:
3m 13s
Cost:
$0.004887
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
Aurora Carter rammed her palm against the padlock and felt the metal grind into bone. The lock gave, and the iron gate swung inward with a shriek that sounded far too human. The Heartstone pendant warmed against her collarbone. It did not just warm. It answered. The silver chain slid over her jacket, and the thumbnail-sized gem pulsed once, twice, deep crimson and faintly lit, as if somebody had blown on coals buried in it. She stepped through the gap in the railings and into a world that had forgotten traffic. Richmond Park's noise fell away behind her. The buses, the dogs, the distant shout of drunk teenagers, all gone. The gate shut with a polite click. Too polite. Her torch beam cut across the grass. It found wildflowers first. Daisies grew beside foxglove. Crocuses nodded among bluebells. The colours spilled over the ground in thick, greedy clusters, all blooming, all in the wrong places. They smelled like a florist's dustbin in summer, sweet and rotten at once. Aurora raised the torch higher. Three standing stones waited in the clearing. They were tall and flat, black as old oak, their surfaces carved with grain lines that looked almost like wood. No moss touched them. Rain should have softened their edges, but they stood crisp, sharp enough to cut the beam of light. "You're being theatrical," she said, and hated the way her own voice came back thin. Eva's message sat folded in her jacket pocket, damp with sweat. She'd taken it from the Golden Empress dispatch bag with Yu-Fei's last parcel, a delivery that should have been simple. An address that wasn't an address. A note in Eva's shaky scrawl, slipped under the parcel box before Rory had left Silas' flat: Grove. Stones. Bring the Heartstone. Don't go past the second stone. Don't trust the child in the flowers. The unknown woman in the back booth had given the pendant, though unknown was a generous word. The woman had not shown a face. She had set a silver cup on the bar, pushed the Heartstone across the counter, and spoken in a voice like paper tearing. Keep it, Rory. When it gets hot, you run. When it gets hotter, you pray. Aurora checked the pendant. The glow had brightened. Her phone buzzed. Silas. She answered with the screen pressed to her ear. "If you're calling to remind me about the fryer, the pilot's out." "Where are you?" "The Grove." A pause. Then, low and careful, "That's not a place in London." "It's in the map app, if you turn the brightness down and look sideways." "Come out." "I came for a reason." "The reason isn't in the park." The line crackled, and underneath it came a sound she recognised. A child humming. Not a recording. Too wet, too close, the lips shaping each note like they were standing inside Silas' bar. Aurora pulled the phone away. The humming stopped. The screen filled with static, then Eva's face appeared in the reflection, pale, mouth open, eyes wide. No image, only the dark reflection of the clearing behind her, and there, between two stones, a black rectangle. A door. Thin as a match. The phone battery dropped to one per cent. The screen went dead. Silence pressed in. Aurora counted breaths. One. Two. Three. The rule Evan used to count, the one she had learned to break, but this wasn't Evan. This was worse because this knew how to wait. She turned the torch toward the stones. There were four. Her throat tightened. She swept the beam back and forth, over each flat black surface, the grain, the empty air around them. Three stood where they had stood. The fourth had appeared at the edge of the flowers, tall enough to hide behind. No footprints. No disturbance in the grass. The pendant heated against her skin. Aurora reached into her bag and took the small box cutter Yu-Fei used for opening cartons. The blade was clean, bright, ordinary. She felt steadier for an ordinary thing. "Hello?" she called. The word moved away from her mouth and did not echo. From the flowers came a soft rustle. A bare foot pushed through petals. The toes were small, white, too straight. A child sat up between the crocuses, facing the wrong way at first, as if the torch had arrived before the body. The child wore a blue dress and no shoes. Its hair hung in black strips, damp. The humming started again, just a thread of sound, not enough to tell tune, enough to make the flowers lean. "Laila," the child said. Aurora's hand went to the pendant. The name was old, used only on paperwork, only before Cardiff, before London, before the bad name Evan had learned to make her answer to. She did not move. "You're not Eva's joke." "Child in the flowers." The child tilted its head. The movement was smooth, one joint too loose. "You came with the stone." "I came looking for Eva." The child smiled. Its teeth were there, small, white, too many in the back. "Eva gave you the message. Eva gave you the box. Eva gave you the stone." The torch beam jumped. The fourth standing stone was gone. The three remaining stones stood closer together than before. The pendant flared. Heat spread across her chest, sharp enough to sting. Aurora looked through the gap between the stones. The thin black rectangle from the phone had opened wider. A door of iron and snow sat in the rock, its handle a loop of white frost. The cold from it touched her face and smelled of a graveyard after rain. "Portal," she breathed. The child stood. It unfolded upward without using its hands, joints stacking one above another, the dress lengthening as if made from the same dark cloth as the standing stones. "You hear it singing," it said. "Who?" "Hel." The word did not land like a myth. It landed like a name on a bill, familiar and due. The pendant pulsed once for each syllable. Aurora ran. The grass grabbed her trainers. The flowers smeared colour across her jeans. Behind her, the child did not chase. It only spoke, calm, patient. "The second stone, Laila. You said you'd never cross." She reached the gate. The iron bars were there, black and solid, but the latch was gone. The padlock had vanished too, leaving only smooth metal where it should hang. She threw her shoulder against it. The gate did not move. The clearing had stretched. She turned, torch beam shaking. The stones were near again. All three. All waiting. The door between them had opened a hand's width. White snow spilled out of it, not falling, floating toward the pendant like mist toward a mouth. The child stood by the first stone. Eva's coat hung on its shoulders now, green wool, too long for small arms. Aurora pressed the pendant with both hands, as if she could push heat back into the gem. It would not cool. "Take it," Eva's voice said from the door. The torch beam caught movement beyond the iron. A hand reached through, fingers long, nails chipped with red polish. Eva's ring, the one she sold after leaving Evan, sat on the middle finger. Aurora took one step back. Eva's hand stretched further, the wrist black at the edges, veins like threads of frost. The voice came again, soft, kind, wrong. "Rory. It has you." The child laughed, and the sound came from the door. Aurora looked down. The silver chain around her neck had loosened. The Heartstone hung free, swinging, its glow now the colour of a wound. She cut the chain with the box cutter. The blade passed through the links and struck nothing. The pendant lifted from her chest. The door yawned wider. The child's mouth opened too. Aurora hurled the box cutter into the dark. The blade struck Eva's wrist and vanished without blood. The hand curled around Aurora's throat. The skin was cold, dry, like old snow. The child's fingers closed on the other side, small, patient, certain. The pendant pulsed hot once, then cold, then the chain broke fully and the red light flew into the door. Aurora pulled Eva's coat sleeve free and swung the empty weight into the child's face. The child shrieked, and the shriek came from the stones. The hand around her throat jerked backward. The gate behind her slammed open with a bang that rattled her teeth. Beyond it, London noise flooded in, buses, barking, ordinary voices, ordinary air. Aurora lunged. The hand did not let go. It yanked her back into the clearing, and her trainers skidded across wet grass. The gate swung shut an inch from her face. The child stood on the grass beside her, smiling with Eva's mouth. The pendant glowed deep inside the door. The stones began to move. Aurora drove her elbow into the hand's wrist, not to escape, not yet, but to make it loosen, and the cold fingers twitched. She clawed at the gate's bars, found the latch from the outside, and pulled it over Eva's fingers. The metal bit down. Eva screamed without lungs. The child pointed at the pendant, now rising in a line of red fire. The door began to close. Aurora grabbed the silver chain around her neck. It came away. In her palm, the Heartstone screamed.
created_at"2026-09-02T17:25:33.035Z" 9/2/2026, 5:25:33 PM
model"qwen/qwen3.8-flash-20260826"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1130
moderation_latency(null)
generation_time113733
tokens_prompt4387
tokens_completion10720
native_tokens_prompt4441
native_tokens_completion10221
native_tokens_completion_images(null)
native_tokens_reasoning8080
native_tokens_cached4352
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)
usage0.004886852
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788369933-gJYr3mYo1FkVls8P4YPR"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788369933-DabOblFlvSNanWpaC2pc"
upstream_id"chatcmpl-c58fbeaa-d400-913d-a2d5-3c9c3dff6e98"
provider_responses
0
endpoint_id"84b1e4a7-5aed-4464-818f-1994f0b4ee18"
id"chatcmpl-c58fbeaa-d400-913d-a2d5-3c9c3dff6e98"
is_byokfalse
latency1130
model_permaslug"qwen/qwen3.8-flash-20260826"
provider_name"Alibaba"
status200
total_cost0.004886852
cache_discount0.000583168
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
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences23
tagDensity0.391
leniency0.783
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1570
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)
77.71% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1570
totalAiIsms7
found
0
word"pulsed"
count3
1
word"silence"
count1
2
word"echo"
count1
3
word"familiar"
count1
4
word"weight"
count1
highlights
0"pulsed"
1"silence"
2"echo"
3"familiar"
4"weight"
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
narrationSentences172
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences172
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences187
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1570
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions54
wordCount1455
uniqueNames14
maxNameDensity1.24
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Eva"
discoveredNames
Carter1
Heartstone5
Park1
Eva12
Golden1
Empress1
Yu-Fei2
Rory2
Stones1
Aurora18
Evan4
Cardiff1
London2
Three3
persons
0"Carter"
1"Heartstone"
2"Eva"
3"Yu-Fei"
4"Rory"
5"Stones"
6"Aurora"
7"Evan"
8"Three"
places
0"Park"
1"Golden"
2"Cardiff"
3"London"
globalScore0.881
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences108
glossingSentenceCount1
matches
0"smelled like a florist's dustbin in summer"
72.61% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.274
wordCount1570
matches
0"not to escape, not yet, but to make it loosen"
1"not yet, but to make it loosen"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences187
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs88
mean17.84
std16.19
cv0.907
sampleLengths
032
17
236
344
411
538
65
749
815
972
1047
1115
128
133
141
1521
163
172
1812
1914
202
215
226
2333
245
2545
268
274
2835
297
303
3150
326
3329
343
3511
3642
3736
384
3935
404
4122
425
4329
4419
453
4658
473
4830
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences172
matches
0"was gone"
1"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs241
matches
0"were standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences187
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount356
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.03932584269662921
lyAdverbCount1
lyAdverbRatio0.0028089887640449437
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences187
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences187
mean8.4
std5.75
cv0.685
sampleLengths
015
117
27
35
42
529
616
77
812
97
102
117
124
134
144
1517
1613
175
187
1920
204
2118
2215
2311
2420
256
2618
271
283
296
307
3117
327
3323
343
356
366
374
384
393
401
419
4212
433
442
452
4610
4714
482
495
33.42% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats31
diversityRatio0.2727272727272727
totalSentences187
uniqueOpeners51
43.01% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences155
matches
0"Then, low and careful,"
1"Too wet, too close, the"
ratio0.013
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences155
matches
0"It did not just warm."
1"She stepped through the gap"
2"Her torch beam cut across"
3"It found wildflowers first."
4"They smelled like a florist's"
5"They were tall and flat,"
6"she said, and hated the"
7"She'd taken it from the"
8"She had set a silver"
9"Her phone buzzed."
10"She answered with the screen"
11"She turned the torch toward"
12"Her throat tightened."
13"She swept the beam back"
14"She felt steadier for an"
15"Its hair hung in black"
16"She did not move."
17"Its teeth were there, small,"
18"It unfolded upward without using"
19"It landed like a name"
ratio0.187
30.97% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount133
totalSentences155
matches
0"Aurora Carter rammed her palm"
1"The lock gave, and the"
2"The Heartstone pendant warmed against"
3"It did not just warm."
4"The silver chain slid over"
5"She stepped through the gap"
6"Richmond Park's noise fell away"
7"The buses, the dogs, the"
8"The gate shut with a"
9"Her torch beam cut across"
10"It found wildflowers first."
11"Daisies grew beside foxglove."
12"Crocuses nodded among bluebells."
13"The colours spilled over the"
14"They smelled like a florist's"
15"Aurora raised the torch higher."
16"They were tall and flat,"
17"Rain should have softened their"
18"she said, and hated the"
19"Eva's message sat folded in"
ratio0.858
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences155
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount3
matches
0"The silver chain slid over her jacket, and the thumbnail-sized gem pulsed once, twice, deep crimson and faintly lit, as if somebody had blown on coals buried in…"
1"She'd taken it from the Golden Empress dispatch bag with Yu-Fei's last parcel, a delivery that should have been simple."
2"It unfolded upward without using its hands, joints stacking one above another, the dress lengthening as if made from the same dark cloth as the standing stones."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"she breathed (breathe)"
dialogueSentences23
tagDensity0.261
leniency0.522
rawRatio0.167
effectiveRatio0.087
88.0351%