Run: 2026-09-03-01M1KB77KQ597DQRJBF9VE4MXP

Run Details

Duration:
2m 48s
Cost:
$0.001918
Provider:
CoreWeave

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 her sternum before she reached the pedestrian gap in Richmond Park's gate. The silver chain had grown uncomfortably warm over the last mile, the deep crimson gem pulsing against her collarbone like a second heart. Rory shoved it beneath her hoodie and kept walking. It had done this twice before, and both times she'd found something she wished she hadn't: a dead fox arranged like a sacrifice by the canal in Hackney, a child's shoe hanging from a branch in Hampstead Heath with something still inside it. The pendant never warned her off. It led her to trouble, and she kept following it because since Eva vanished three weeks ago, trouble was the only trail she had left. She'd left the night bus at the stop near Roehampton Gate, the last one running this far south. The driver had given her a long look in the mirror and she'd given him one back. He'd shrugged. Londoners learned fast not to ask questions at midnight. The park gates loomed. Closed, of course. Richmond Park shut at dusk, but Eva had shown her the gap years ago, a twisted section of railing where someone had once cut through for reasons known only to them. Rory slipped through, catching her jacket on a loose spike, tearing a small hole above the hem. She swore softly and kept moving. The path wound between ancient oaks, their branches knitting overhead until the moonlight came through in pale coins. She clicked on her torch. The beam cut a weak cone through the dark, catching on deer eyes here and there, glowing emeralds that blinked out as quickly as they appeared. The air carried a wrongness she couldn't name at first. Not the usual November bite, not the damp earth smell of leaf mould. Something sweet curled through it, like the perfume counter at Boots, but older, thicker, as if someone had distilled a thousand flowers into a single cloying note. Underneath it, copper stung her nostrils. Blood. Recent. She paused, listening. No traffic from the road. No foxes calling. No wind in the leaves. The silence had a held-breath quality, as though the park itself waited for her to do something. The pendant pulsed again, warmer now, insistent. Rory followed it. The grove appeared between one blink and the next. One moment she was pushing through scrubby undergrowth, the next she stood before three standing stones, moss-eaten, older than anything else inthe park, arranged in a triangle that didn't quite look accidental. Inside them, wildflowers bloomed. In November. Blue and white and deep crimson petals, all growing in perfect concentric circles, unmarked by frost, unbothered by the cold. They glowed faintly, not from the moonlight, but from within, like the pendant's inner shine. Someone had tended this place recently. The petals carried no dew, no dust, no sign of weather at all. As if the flowers had been placed there hours ago and would still be fresh in a hundred years. Rory stepped between the stones. Her torch flickered, buzzed, died. She shook it, slapped it, and it stayed dead. Moonlight filled the grove instead, brighter than it had any right to be, silver-washed and wrong. She looked up. The moon sat fat and low between the oak branches, but the clouds around it hadn't moved since she'd arrived. She counted her breaths. One. Two. Three. The clouds stayed frozen, painted, patient. The pendant went hot. Not warm. Hot. She hissed and clawed at the chain, but the clasp wouldn't come undone. The crimson gem glowed through her hoodie now, visible even through the fabric, casting a thin red light across her collarbone. "You're late, Malphora." The voice came from everywhere and nowhere at once, soft as silk drawn over a knife's edge. Rory spun, torch raised like a weapon. The grove stood empty. The flowers shivered, though no wind touched them. "Who's there?" Her voice came out steadier than she felt. No answer. The silence pressed in, thick as water. She backed toward the gap between the standing stones, the way she'd come, and her heel struck something that hadn't been there before. She looked down. A fourth stone. Where the gap had been. It stood identical to the others, moss in all the same places, as if it had grown there centuries ago. As if it had always been there. Rory's throat tightened. She turned slowly, counting. The triangle now had four corners. She'd walked in through a gap that no longer existed. The flowers rustled. Not one rustle, but many, as though something moved among them, passing from bloom to bloom, unhurried, patient. Rory backed against the new stone. The cold of it seeped through her jacket, deep into her spine, and the pendant throbbed against her chest in answer. "There's no point leaving," the voice said, closer now, almost conversational. "Time doesn't move for you here. It never did." Rory's fingers found the clasp again, twisted, pulled. The chain snapped. The pendant dropped into her palm, burning hot, and she nearly dropped it. But she didn't. She held it tight, the warm crimson light spilling between her fingers, and for a moment the wildflowers dimmed, as if afraid of it. The voice laughed. A soft, delighted sound, like wind through dry grass. "Oh, you kept it. I wondered if you would." Something moved between the stones. Tall, thin, shaped like a person but not moving like one, its limbs jointed wrong, its head tilted at an angle that made Rory's stomach lurch. It stepped into the moonlight, and she saw its face. Or rather, she saw the shape where a face should be, smooth as a closed orchid, featureless, pale. It had no eyes, yet it looked at her. She felt it look at her, felt the weight of that gaze settle on her skin like frost. "Give it back," it said. "You've carried it long enough. Malphora was always meant to return it." The pendant flared. The warmth turned searing, the red light blazing between her fingers, Drumming like a heartbeat, like a warning, like a name someone had forgotten calling her. Rory looked at the creature, at the waiting stones, at the frozen moon overhead. She gripped the pendant tight, sparked the chain around her wrist, and ran. straight through the flowers toward where she prayed the gap still was. The flowers screamed. Not a sound she heard with her ears. A sound that tore through her skull directly, white-hot, needle-thin, a thousand voices braided into one, all shrieking the same word over and over: *Malphora. Malphora. Malphora.* She hit the stone wall. No gap. She scrabbled at moss, at lichen, at seams that didn't exist. The stones were unbroken, ancient, immovable. Behind her, the creature stepped closer, unhurried. It didn't need to hurry. Time didn't move for her here. It never did. The pendant burned in her fist. And somewhere deep inthe stone, something answered it.
created_at"2026-09-03T09:57:22.698Z" 9/3/2026, 9:57:22 AM
model"deepseek/deepseek-v4-flash-20260731"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency592
moderation_latency(null)
generation_time167941
tokens_prompt4387
tokens_completion5461
native_tokens_prompt4224
native_tokens_completion4889
native_tokens_completion_images(null)
native_tokens_reasoning3730
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)
usage0.00191804
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788429442-eY1LTL4yq8EpJTqTPSPU"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788429442-WOWkJ7l8fYVE1soIH1xk"
upstream_id"chatcmpl-6d1cdc51-5315-471b-8641-318ad54e4b56"
provider_responses
0
endpoint_id"cbfecbd7-9a18-45ea-bcd1-fabaa868db5c"
id"chatcmpl-6d1cdc51-5315-471b-8641-318ad54e4b56"
is_byokfalse
latency581
model_permaslug"deepseek/deepseek-v4-flash-20260731"
provider_name"CoreWeave"
status200
total_cost0.00191804
cache_discount(null)
upstream_inference_cost0
provider_name"CoreWeave"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences7
tagDensity0.429
leniency0.857
rawRatio0
effectiveRatio0
87.08% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1161
totalAiIsmAdverbs3
found
0
adverb"softly"
count1
1
adverb"quickly"
count1
2
adverb"slowly"
count1
highlights
0"softly"
1"quickly"
2"slowly"
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)
44.01% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1161
totalAiIsms13
found
0
word"loomed"
count1
1
word"silence"
count2
2
word"pulsed"
count1
3
word"perfect"
count1
4
word"flickered"
count1
5
word"silk"
count1
6
word"throbbed"
count1
7
word"stomach"
count1
8
word"lurch"
count1
9
word"weight"
count1
10
word"warmth"
count1
11
word"searing"
count1
highlights
0"loomed"
1"silence"
2"pulsed"
3"perfect"
4"flickered"
5"silk"
6"throbbed"
7"stomach"
8"lurch"
9"weight"
10"warmth"
11"searing"
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
narrationSentences113
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences113
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences117
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords3
totalWords1161
ratio0.003
matches
0"Malphora. Malphora. Malphora."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions25
wordCount1119
uniqueNames12
maxNameDensity0.89
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Richmond2
Park2
Hackney1
Hampstead1
Heath1
Eva2
Roehampton1
Gate1
November2
Boots1
Rory10
Drumming1
persons
0"Heath"
1"Eva"
2"Rory"
3"Drumming"
places
0"Richmond"
1"Park"
2"Hackney"
3"Hampstead"
4"Roehampton"
5"November"
6"Boots"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences68
glossingSentenceCount1
matches
0"quite look accidental"
27.73% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.723
wordCount1161
matches
0"not from the moonlight, but from within, like the pendant's inner shine"
1"Not one rustle, but many, as though something moved among them, passing from blo"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences117
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs26
mean44.65
std35.69
cv0.799
sampleLengths
0122
146
261
3107
443
5120
671
741
83
936
1010
1193
1248
1320
1451
1512
169
1786
1817
1956
2012
213
2232
233
2445
2514
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences113
matches
0"been placed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs195
matches
0"was pushing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences117
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1124
adjectiveStacks0
stackExamples(empty)
adverbCount38
adverbRatio0.033807829181494664
lyAdverbCount10
lyAdverbRatio0.008896797153024912
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences117
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences117
mean9.92
std8.2
cv0.826
sampleLengths
016
123
29
343
46
525
618
717
82
99
104
113
1231
1317
146
1518
165
1726
1810
1913
2027
216
221
231
243
255
263
275
2817
297
303
319
3232
334
342
3520
3615
376
3813
3919
405
415
429
4316
443
4520
464
471
481
491
48.15% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.3504273504273504
totalSentences117
uniqueOpeners41
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences98
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences98
matches
0"It had done this twice"
1"It led her to trouble,"
2"She'd left the night bus"
3"She swore softly and kept"
4"She clicked on her torch."
5"She paused, listening."
6"They glowed faintly, not from"
7"Her torch flickered, buzzed, died."
8"She shook it, slapped it,"
9"She looked up."
10"She counted her breaths."
11"She hissed and clawed at"
12"Her voice came out steadier"
13"She backed toward the gap"
14"She looked down."
15"It stood identical to the"
16"She turned slowly, counting."
17"She'd walked in through a"
18"She held it tight, the"
19"It stepped into the moonlight,"
ratio0.276
62.04% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount78
totalSentences98
matches
0"The pendant burned against her"
1"The silver chain had grown"
2"Rory shoved it beneath her"
3"It had done this twice"
4"The pendant never warned her"
5"It led her to trouble,"
6"She'd left the night bus"
7"The driver had given her"
8"Londoners learned fast not to"
9"The park gates loomed."
10"Richmond Park shut at dusk,"
11"Rory slipped through, catching her"
12"She swore softly and kept"
13"The path wound between ancient"
14"She clicked on her torch."
15"The beam cut a weak"
16"The air carried a wrongness"
17"Something sweet curled through it,"
18"She paused, listening."
19"The silence had a held-breath"
ratio0.796
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences98
matches
0"As if the flowers had"
1"As if it had always"
ratio0.02
38.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount6
matches
0"Something sweet curled through it, like the perfume counter at Boots, but older, thicker, as if someone had distilled a thousand flowers into a single cloying n…"
1"One moment she was pushing through scrubby undergrowth, the next she stood before three standing stones, moss-eaten, older than anything else inthe park, arrang…"
2"It stood identical to the others, moss in all the same places, as if it had grown there centuries ago."
3"Not one rustle, but many, as though something moved among them, passing from bloom to bloom, unhurried, patient."
4"She held it tight, the warm crimson light spilling between her fingers, and for a moment the wildflowers dimmed, as if afraid of it."
5"A sound that tore through her skull directly, white-hot, needle-thin, a thousand voices braided into one, all shrieking the same word over and over:"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences7
tagDensity0.286
leniency0.571
rawRatio0
effectiveRatio0
86.9115%