Run: 2026-09-03-01M1KAQ71C0BB15AKPS56CRP09

Run Details

Duration:
1m 25s
Cost:
$0.001039
Provider:
DigitalOcean

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 air changed first. Aurora felt it the moment she stepped past the last iron gate of Richmond Park, a subtle shift in pressure against her eardrums that had nothing to do with the weather. The gate clanged shut behind her with a sound that echoed too long, too deep, as if the darkness itself had swallowed the noise and was chewing on it. The Heartstone pendant warmed against her collarbone. A gentle, pulsing heat like a second heartbeat, one that belonged to something else entirely. She'd come here because of a dream. Because Eva had whispered something in her sleep about standing stones and crimson light, and Rory had woken with the pendant burning against her skin and a name on her lips that she couldn't quite remember. *Isolde.* A name that tasted like moss and old earth. Now, standing at the edge of the bracken, she wondered if the dream had been a warning instead of an invitation. The park stretched before her, a dark expanse of ancient oaks and tangled undergrowth. The night pressed down, heavy and expectant. No moon. No stars. The clouds hung low, thick as wool, blotting out any trace of celestial light. The only illumination came from her phone's torch, a weak, sickly beam that barely penetrated three feet ahead. She should have brought a proper flashlight. She should have brought company. She should have stayed in her flat above Silas' bar, nursing a whisky and pretending the pendant didn't hum against her skin. Too late for should-haves. Rory checked the compass on her phone. North-east. The dream had been insistent on the direction, a voice that wasn't quite her own repeating *north-east, past the old oaks, past the fallen one, past the place where the deer refuse to walk.* She'd dismissed it as sleep-addled nonsense when she'd woken. But the pendant had kept pulsing, and the compulsion had grown with each passing hour, a physical pressure behind her ribs that made her delivery shifts unbearable. She walked. The grass beneath her trainers felt wrong. Too soft. Too wet, despite the dry spell. Each step sank a little deeper than it should, and when she lifted her foot, the ground released it with a faint, sucking sound that was almost... reluctant. *Stop it,* she told herself. *You're spooking yourself.* The trees thickened. The oak branches overhead twisted together, forming a canopy so dense that the park's distant streetlights vanished entirely. The phone torch flickered. She shook it, and the beam steadied, but the darkness beyond it seemed to press closer, hungry for the light. A twig snapped behind her. Rory froze, her heart slamming against her ribs. She spun, sweeping the torch across the undergrowth. Nothing. Just the thick, tangled shapes of brambles and ferns, their fronds swaying gently in a breeze she couldn't feel. *Just a fox. A badger. Something mundane.* She continued walking, but her pace quickened. Her ears strained, listening for the soft patter of retreating paws. All she heard was the whisper of the wind through the leaves. Except the leaves weren't rustling. The sound was wrong. Too rhythmical. Like breathing. Another step. Another. The ground began to slope downward. The trees grew older here, their trunks wider than her arms could reach, their bark furrowed with deep, ancient grooves. Some had carvings in them. Rory stopped, shining the torch against one. *Not carvings,* she realised, her stomach clenching. *Scars.* Long, parallel gouges ran up the trunk, so old they'd almost healed over. Almost. The bark had grown back in raised ridges, pale and ropey, like the keloid scars she'd seen on burn victims. Three parallel lines for each palm. Handprints. Something had clawed at this tree with hands that had too many fingers. The pendant pulsed. Hot now. Almost uncomfortable. *Keep moving.* The grove opened suddenly before her, a clearing that shouldn't have existed in the heart of Richmond Park. The trees formed a perfect circle, their branches arching inward to create a vast, natural cathedral. In the centre stood seven standing stones, each taller than a man, their surfaces covered in spirals and interlocking knots that seemed to shift when she looked at them directly. And between the stones, the wildflowers bloomed. Impossible, vivid colours. Foxgloves in shades of deep blue and violet. Roses the colour of old blood. Blooms she couldn't name, their petals shimmering with a faint, internal luminescence that made her skin crawl. The air here smelled wrong. Too sweet. Too alive. A cloying perfume that coated the back of her throat like honey gone bad. Rory stepped between two of the stones. The temperature dropped instantly. Ten degrees, maybe more, cold enough that her breath fogged in the air. The phone torch flickered again, more violently this time, and the pendant began to vibrate against her chest, a low, persistent hum she could feel in her teeth. She was not alone. The certainty settled over her like a shroud. Not a thought, but a knowing, bone-deep and primal. Something watched from the shadows between the standing stones. Something patient. Something that had been waiting far longer than she'd been alive. "Hello?" Her voice came out thin, pathetic. The clearing swallowed it without an echo. The wildflowers rustled. Not from wind. There was no wind here. The blooms moved of their own accord, bowing inward, as if a great presence passed through them. Rory's hand went to the pendant. The silver chain was cold against her fingers, but the gemstone burned, a dull, throbbing crimson that pulsed in time with her racing heart. *Turn around,* a voice whispered. Not in her ears, but inside her skull, slick and smooth as river stone. *Turn around and leave. You were not invited.* She couldn't move. Her legs had turned to lead, her feet rooted to the mossy earth. The voice wasn't threatening. It was almost gentle, the way a spider's web is gentle before the fly notices the sticky strands. The pendant pulsed again. Hotter. Brighter. A shape moved at the edge of her vision. She whipped her head toward it. Nothing there. Just a standing stone, its carvings seeming deeper now, the spirals spiralling inward toward a centre that didn't exist. Another shape. This time behind her. Another. To her left. They were everywhere now, figures flitting at the periphery, always just out of her sightline. Never quite there when she turned. Never quite absent when she looked away. The air grew thick with their presence, a pressure building behind her eyes, in her sinuses, pressing against the inside of her skull. *See us,* the voice murmured. *The eyes are open. The gate is open. See us.* The pendant grew so hot she cried out, yanking the chain over her head. It swung in her trembling fingers, the crimson gemstone blazing like a dying coal, its light spilling across the clearing. And in that light, she saw them. Not clearly. Never clearly. Just impressions. A hand with too many knuckles. A face that was almost familiar, beautiful in the way a wolf's grin is beautiful. Eyes that were too wide, too bright, set in a head that tilted at an impossible angle. They surrounded her. Silent. Still. Their shadows stretched impossibly long, reaching toward her across the moss, vine-like and grasping. The pendant swung. The light shifted. And the shadows retreated, just a fraction, just for a moment. *You carry his heart,* the voice said, and now it held a note of something that might have been reverence, might have been hunger. *The heart of Dymas. The fallen one. The betrayer.* Aurora's blood ran cold. Dymas. She'd seen that name. In Eva's books. In scattered notes left on her kitchen table. In the half-remembered fragments of dreams that left her gasping and sweating in the dead of night. She knew nothing about him. Not really. Only that the name had power, that it echoed in her bones, that the pendant she wore was somehow connected to a past she couldn't remember and a future she couldn't outrun. A figure stepped forward from the circle. This one was more solid than the others, its shape clearer, almost human. It had Eva's face. No. It had her own. It had a face that shifted and flowed like water, borrowing features and discarding them, settling at last on something that made her stomach lurch with recognition. *Evan.* Her ex. The one she'd fled. The one who'd left bruises she still felt in her bones on certain mornings. "Rory." His voice was warm. Familiar. Wrong. "You came back." She couldn't speak. Couldn't move. The pendant in her hand flickered, the light guttering like a candle in a storm. "Let me guess," the thing said, tilting its head. "You came for answers. For purpose. For a meaning beyond the endless cycle of deliveries and cheap wine and dreams that make no sense." Her fingers tightened around the pendant. "Or," the thing continued, stepping closer, "you came because you were called. Because a voice that sounds like your own, but isn't, told you to come to the grove. Because you've been seeing things at the edge of your vision since you were a child. Because you've always known, somewhere deep and dark inside you, that you don't belong in this world." The shadows pressed closer. The wildflowers bowed lower. The air grew thick and sweet and cloying, a perfume so strong she felt it coating her lungs, her tongue, her teeth. "You came," the thing said, and now it was right in front of her, close enough that she could see the wrongness in its eyes, too bright, too wide, "because you sensed you were being hunted. And you wanted to see the hunter face to face." The pendant blazed once. Once only. A flash of crimson so bright it seared her vision, and the thing recoiled with a hiss that wasn't human, its face contorting into something ancient and terrible and hungry. Rory ran. She didn't think. She just moved, sprinting between the standing stones, her trainers slipping on the moss, her breath ragged and sharp in her throat. The shadows reached for her, grasping at her ankles, her wrists, her hair. The cold bit deep, so deep she felt it in her marrow, in her teeth, in the fragile bones of her skull. She burst through the treeline and kept running. The bracken tore at her clothes. The branches whipped her face. The sound of her own heartbeat drowned out everything else that followed, and something followed, she knew, could feel its presence at her back, a cold wind at her heels. The pendant had gone quiet. Cold. Still. The gate clanged ahead of her, the park's boundary, the mundane world, salvation. She threw herself at it, scrabbling at the metal, and the hinges screamed as she shoved through and tumbled onto the pavement. She lay there for a long moment, gasping, her face pressed against the cold concrete. The streetlight above her flickered once. Twice. Settled. When she finally pushed herself to her feet, her hands were shaking. The pendant hung cold and silent around her neck, the crimson gemstone now dark, dormant. Back in the apartment above Silas' bar, she would call Eva. She would demand answers. She would convince herself it had been a panic attack, a trick of the light, an overactive imagination fed by too many late nights and too many whispered warnings. But she knew, as she limped back toward the main road, that she was lying to herself. She hadn't seen the hunter face to face. She'd seen its servants. And somewhere, deep in the darkness of the grove, something had allowed her to run.
created_at"2026-09-03T09:48:37.823Z" 9/3/2026, 9:48:37 AM
model"deepseek/deepseek-v4-flash-20260731"
app_id182717
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cancelledfalse
latency609
moderation_latency(null)
generation_time83595
tokens_prompt4387
tokens_completion3233
native_tokens_prompt4145
native_tokens_completion2808
native_tokens_completion_images(null)
native_tokens_reasoning263
native_tokens_cached0
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num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
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usage0.001039199
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upstream_id"chatcmpl-bffcb677-8006-98d9-987b-6718d077bb27"
provider_responses
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is_byokfalse
latency1114
model_permaslug"deepseek/deepseek-v4-flash-20260731"
provider_name"AkashML"
status429
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is_byokfalse
latency40
model_permaslug"deepseek/deepseek-v4-flash-20260731"
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status429
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model_permaslug"deepseek/deepseek-v4-flash-20260731"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences7
tagDensity0.714
leniency1
rawRatio0
effectiveRatio0
92.32% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1953
totalAiIsmAdverbs3
found
0
adverb"gently"
count1
1
adverb"suddenly"
count1
2
adverb"really"
count1
highlights
0"gently"
1"suddenly"
2"really"
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)
41.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1953
totalAiIsms23
found
0
word"echoed"
count2
1
word"flickered"
count4
2
word"quickened"
count1
3
word"whisper"
count1
4
word"furrowed"
count1
5
word"stomach"
count2
6
word"clenching"
count1
7
word"pulsed"
count3
8
word"perfect"
count1
9
word"could feel"
count2
10
word"echo"
count1
11
word"racing"
count1
12
word"familiar"
count2
13
word"lurch"
count1
highlights
0"echoed"
1"flickered"
2"quickened"
3"whisper"
4"furrowed"
5"stomach"
6"clenching"
7"pulsed"
8"perfect"
9"could feel"
10"echo"
11"racing"
12"familiar"
13"lurch"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood ran cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences206
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences206
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences208
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen63
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans15
markdownWords72
totalWords1953
ratio0.037
matches
0"Isolde."
1"north-east, past the old oaks, past the fallen one, past the place where the deer refuse to walk."
2"Stop it,"
3"You're spooking yourself."
4"Just a fox. A badger. Something mundane."
5"Not carvings,"
6"Scars."
7"Keep moving."
8"Turn around,"
9"Turn around and leave. You were not invited."
10"See us,"
11"The eyes are open. The gate is open. See us."
12"You carry his heart,"
13"The heart of Dymas. The fallen one. The betrayer."
14"Evan."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions21
wordCount1825
uniqueNames9
maxNameDensity0.38
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Eva"
discoveredNames
Richmond2
Park2
Heartstone1
Eva3
Rory7
Long1
Dymas2
Aurora2
Familiar1
persons
0"Eva"
1"Rory"
2"Aurora"
places
0"Richmond"
1"Park"
globalScore1
windowScore1
53.85% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount4
matches
0"quite remember"
1"tasted like moss and old earth"
2"quite her own repeating *north-east, past the old oaks, past the fallen one, past the place where the deer refuse to walk.* She'd dismissed it as sleep-addled nonsense when she'd woken"
3"knots that seemed to shift when she looked at them directly"
97.59% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.024
wordCount1953
matches
0"Not a thought, but a knowing, bone-deep"
1"Not in her ears, but inside her skull, slick"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences208
matches
0"seen that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean28.3
std19.45
cv0.687
sampleLengths
04
160
222
353
421
557
634
74
878
92
1043
118
1245
135
1436
157
1643
173
1838
198
2054
217
222
2364
247
2557
267
2745
284
2939
3014
3128
3230
3327
3438
356
369
3727
386
394
4051
4115
4241
4344
4419
4517
4633
4737
4839
4956
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences206
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs298
matches
0"weren't rustling"
1"were shaking"
2"was lying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences208
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount330
adjectiveStacks0
stackExamples(empty)
adverbCount12
adverbRatio0.03636363636363636
lyAdverbCount4
lyAdverbRatio0.012121212121212121
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences208
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences208
mean9.39
std9.43
cv1.004
sampleLengths
04
131
229
37
415
57
636
710
821
914
107
112
122
1314
1418
157
165
1722
184
197
201
2143
2227
232
247
252
266
2727
281
295
303
313
3218
334
3420
355
368
378
381
3919
403
412
422
437
4411
4512
465
474
482
492
37.50% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats37
diversityRatio0.3317307692307692
totalSentences208
uniqueOpeners69
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences160
matches
0"Too late for should-haves."
1"Too wet, despite the dry"
2"Just the thick, tangled shapes"
3"*Just a fox."
4"Just a standing stone, its"
5"Only that the name had"
ratio0.038
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences160
matches
0"She'd come here because of"
1"She should have brought a"
2"She should have brought company."
3"She should have stayed in"
4"*You're spooking yourself.*"
5"She shook it, and the"
6"She spun, sweeping the torch"
7"She continued walking, but her"
8"Her ears strained, listening for"
9"She was not alone."
10"Her voice came out thin,"
11"You were not invited.*"
12"She couldn't move."
13"Her legs had turned to"
14"It was almost gentle, the"
15"She whipped her head toward"
16"They were everywhere now, figures"
17"It swung in her trembling"
18"They surrounded her."
19"Their shadows stretched impossibly long,"
ratio0.238
78.75% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount122
totalSentences160
matches
0"The air changed first."
1"Aurora felt it the moment"
2"The gate clanged shut behind"
3"The Heartstone pendant warmed against"
4"A gentle, pulsing heat like"
5"She'd come here because of"
6"*Isolde.* A name that tasted"
7"The park stretched before her,"
8"The night pressed down, heavy"
9"The clouds hung low, thick"
10"The only illumination came from"
11"She should have brought a"
12"She should have brought company."
13"She should have stayed in"
14"Rory checked the compass on"
15"The dream had been insistent"
16"The grass beneath her trainers"
17"Each step sank a little"
18"*You're spooking yourself.*"
19"The trees thickened."
ratio0.763
93.75% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences160
matches
0"Because Eva had whispered something"
1"Now, standing at the edge"
2"To her left."
ratio0.019
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount15
matches
0"Aurora felt it the moment she stepped past the last iron gate of Richmond Park, a subtle shift in pressure against her eardrums that had nothing to do with the …"
1"The gate clanged shut behind her with a sound that echoed too long, too deep, as if the darkness itself had swallowed the noise and was chewing on it."
2"The dream had been insistent on the direction, a voice that wasn't quite her own repeating *north-east, past the old oaks, past the fallen one, past the place w…"
3"But the pendant had kept pulsing, and the compulsion had grown with each passing hour, a physical pressure behind her ribs that made her delivery shifts unbeara…"
4"In the centre stood seven standing stones, each taller than a man, their surfaces covered in spirals and interlocking knots that seemed to shift when she looked…"
5"Blooms she couldn't name, their petals shimmering with a faint, internal luminescence that made her skin crawl."
6"Something that had been waiting far longer than she'd been alive."
7"Just a standing stone, its carvings seeming deeper now, the spirals spiralling inward toward a centre that didn't exist."
8"It swung in her trembling fingers, the crimson gemstone blazing like a dying coal, its light spilling across the clearing."
9"A face that was almost familiar, beautiful in the way a wolf's grin is beautiful."
10"Eyes that were too wide, too bright, set in a head that tilted at an impossible angle."
11"In the half-remembered fragments of dreams that left her gasping and sweating in the dead of night."
12"It had a face that shifted and flowed like water, borrowing features and discarding them, settling at last on something that made her stomach lurch with recogni…"
13"A flash of crimson so bright it seared her vision, and the thing recoiled with a hiss that wasn't human, its face contorting into something ancient and terrible…"
14"She just moved, sprinting between the standing stones, her trainers slipping on the moss, her breath ragged and sharp in her throat."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"Her voice came out, pathetic"
7.14% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"the thing continued (continue)"
dialogueSentences7
tagDensity0.429
leniency0.857
rawRatio0.333
effectiveRatio0.286
84.2339%