Run: 2026-09-10-01M25DRMXE3EV2PNE40P2Z2AZ1

Run Details

Duration:
28.5s
Cost:
$0.002520
Provider:
DeepSeek

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 third stone was warm. Rory lifted her hand off the bark and held it in front of her face, half expecting something on her palm. Nothing. Just skin, and the old crescent scar on her wrist catching what little light came down through the oaks. Nine stones. She counted them from where she stood: one to five, five to nine. Then she counted again, because the first pass had come out at eight and that was a problem. Anticlockwise. "Nine stones, Rory. You walk anticlockwise and you don't stop until you've counted every one of them." Three weeks old, that voicemail. The wind had eaten the rest of the sentence, and under the wind, faint enough that she had replayed it eleven times to be sure, a woman humming through her teeth. She started walking. The pendant lay against her sternum, warm as the stone had been. Deep crimson, thumbnail sized, hanging off a silver chain that had arrived in a padded envelope with no note and no return address and no postmark at all, which the post office in Lewisham had been unable to explain. It had pulsed for fourteen nights, quiet as a pulse in a wrist, and on the fourteenth she had stopped pretending she wasn't coming. So: a torch she didn't need, a bottle of water, her phone at eighty-three per cent, and nobody in the world who knew where she had gone. She had told Yu-Fei she was taking the morning off. She had told Silas nothing. The grove had no gate. She had come in over the ditch at the bottom of Sawyer's Hill, past the deer that stood in the dark and watched her the way deer did, still as fence posts, then kept walking when they decided she wasn't worth the running. Somewhere behind her and a mile to the east, the park should have been carrying its night noise: the low river of traffic off the A3, helicopters swinging towards Heathrow, foxes screaming at each other like children being murdered. She had walked this park at night before and it had never once been quiet. She stopped and listened to it now. Nothing. Not the hush of a still night. A held breath. The kind of silence that arrives in a room a second after an argument, when everyone has decided what they think of you. Rory looked at the stones. Oak, all of them, planted or grown or something in between, waist high and worn smooth on the tops where centuries of hands had rested. Nine of them in a ring, and inside the ring, the wildflowers. That was the first thing that had been wrong. Wildflowers in the middle of the ring in a season that had no business flowering at all, bluebells and campion and something small and yellow, all of it upright and open in the dark. Flowers closed at night. She knew that much from her mother's garden in Cardiff, from twenty years of watching things shut themselves against the cold. These were open, and they were facing inward. She stepped over the boundary and the noise of the world went out like a switch. Not faded. Went. One step, both feet on the other side of the oldest stone, and the hum she had not even registered was gone from behind her ears, and the air had a thickness to it, like standing in a room where someone had just left. The pendant beat once against her ribs and lay still. "Right," she said, out loud, to hear something. Her voice came back without echo, as though the trees had taken it and put it in a drawer. Anticlockwise. She moved. One. The oak on her left, bark cold under two fingers. Two. Cold. Three. Warm, the one she had touched already, the heat rising up through her hand like a stove ring left on. Four. Cold. Five. Cold. She kept her eyes on the ground, because the ground was measurable, and because she had caught herself twice now glancing at the gap between two stones on the far side where something had seemed to shift. Fox. It was a fox. Everything was a fox. Six. She took a mouthful of water and capped the bottle. And it was only when she had swallowed that she heard the bell. One clear note, small and bright, the kind you got from a cyclist telling you to move off the towpath, ringing out from beyond the ring, out among the trees, where no path ran and no rider could be and no light showed between the trunks. Rory turned towards it. Held still. The bell rang again. "Hello?" The word went into the dark and did not come back. Somewhere in the distance, a fox screamed, or a child did, or nothing did, and she was no longer able to tell which of those things she was inventing. She walked. Seven. Eight. Nine. She counted her steps as she went because counting was a job for the front of her mind, and the back of it was doing something else, something entirely its own, listing the things in the ring that ought not to be there. The flowers, upright and facing in. The warmth in the wood. The bicycle bell. Her fifth step rang slightly after her fourth. She stopped. The sound stopped with her, obedient, stupid, obviously her own boots on leaf litter, obviously nothing. She waited three seconds, and took one step, and the step behind her took one step too, half a beat late, as though it had been waiting for the noise to be free. Rory did not turn round. That much of Cardiff she still had in her. Never turn to look at what is following you, because whatever it is will take that as an invitation. She pulled her phone out instead. Twenty-three forty-eight. She had left the car at ten past eleven, and the walk in was forty minutes, and she had spent four or five of them counting stones. The clock said twenty-three eleven. She watched the screen. The numbers did not move. She held them for a long time, long enough for the light to fade down and the screen to dim, and in the seconds before it blacked out she saw the flowers behind the glass, twelve feet away, all of them bent in one direction, like grass under a wind that was not blowing. The chain bit into the back of her neck. She reached up without thinking and closed her hand around the pendant, and it was cold. Colder than it had ever been, cold the way the third stone had been warm, cold all the way through, cold enough that her fingertips went numb in the time it took her heart to beat twice. Something moved in the gap between the second stone and the third. Not a shape. The place where a shape would be. A subtraction, a piece of the dark that had been cut out of the dark and was now standing in it, and the flowers in the ring leaned towards it, all of them, every open head, and the pendant went from cold to nothing at all, as if the heat had been drunk out of it. Rory's hand dropped to her side. Ten stones. She counted them because she could not stop counting them, and it was not a decision, it was the only instrument left in her head. One, two, three, four, five, six, seven, eight, nine. Ten. The tenth stood where she had been standing ten minutes ago, waist high, smooth on top, worn from the hands of people who had never existed. Behind her, something inhaled. "Malphora." Her mouth went dry. Nobody had ever called her that. Nobody living and nobody dead, nobody in Cardiff or London or the flat above Silas' bar, nobody who had ever loved her or wanted to. "Malphora," it said again, closer.
created_at"2026-09-10T10:28:10.296Z" 9/10/2026, 10:28:10 AM
model"deepseek/deepseek-v4.1-flash-20260910"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1017
moderation_latency(null)
generation_time28477
tokens_prompt4387
tokens_completion4607
native_tokens_prompt4171
native_tokens_completion4129
native_tokens_completion_images(null)
native_tokens_reasoning2515
native_tokens_cached3968
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)
usage0.002519754
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1789036090-RKGwOrh8HxFqtDWvGa8f"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1789036090-AO9YAsX6mMJzgJLrPPxP"
upstream_id"3a4dfa3a-afed-4070-b9d7-0c78fd381ac9"
provider_responses
0
endpoint_id"fd104bc8-535a-4d31-a847-a8e402e86a02"
id"3a4dfa3a-afed-4070-b9d7-0c78fd381ac9"
is_byokfalse
latency457
model_permaslug"deepseek/deepseek-v4.1-flash-20260910"
provider_name"DeepSeek"
status200
total_cost0.002519754
cache_discount0.000583296
upstream_inference_cost0
provider_name"DeepSeek"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount1
adverbTags
0"it said again [again]"
dialogueSentences5
tagDensity0.6
leniency1
rawRatio0.333
effectiveRatio0.333
96.25% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1333
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
81.25% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1333
totalAiIsms5
found
0
word"pulsed"
count1
1
word"pulse"
count1
2
word"silence"
count1
3
word"echo"
count1
4
word"warmth"
count1
highlights
0"pulsed"
1"pulse"
2"silence"
3"echo"
4"warmth"
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
narrationSentences106
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences106
filterMatches
0"think"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1333
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions25
wordCount1301
uniqueNames12
maxNameDensity0.38
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"One"
discoveredNames
Lewisham1
Yu-Fei1
Silas1
Sawyer1
Hill1
Heathrow1
Cardiff3
London1
Rory5
Nine3
One4
Cold3
persons
0"Silas"
1"Sawyer"
2"Hill"
3"Rory"
places
0"Heathrow"
1"Cardiff"
2"London"
3"Nine"
4"One"
5"Cold"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences57
glossingSentenceCount1
matches
0"dient, stupid, obviously her own boots on le"
1"n leaf litter, obviously nothing"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1333
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences108
matches
0"knew that much"
1"swallowed that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs47
mean28.36
std25.08
cv0.884
sampleLengths
05
141
233
354
43
575
642
7102
87
934
1042
119
1267
1316
1447
1510
1627
173
1875
199
2011
2113
2246
236
244
251
2640
272
2860
298
3051
3133
3235
335
3463
359
3653
3712
3866
396
4036
411
4226
434
441
4535
465
98.64% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences106
matches
0"being murdered"
1"was gone"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs189
matches
0"wasn't coming"
1"was taking"
2"were facing"
3"was inventing"
4"was doing"
5"was not blowing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences108
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1302
adjectiveStacks0
stackExamples(empty)
adverbCount31
adverbRatio0.023809523809523808
lyAdverbCount6
lyAdverbRatio0.004608294930875576
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean12.34
std13.26
cv1.075
sampleLengths
05
121
21
319
42
513
618
71
822
931
103
1112
1239
1324
1427
1510
165
175
1843
1939
2015
217
221
237
243
2523
265
2725
2812
299
3034
314
3221
338
3416
352
361
3744
3810
398
4019
411
422
431
4410
451
461
471
4820
491
64.81% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.4166666666666667
totalSentences108
uniqueOpeners45
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences79
matches
0"Just skin, and the old"
1"Then she counted again, because"
2"Somewhere behind her and a"
3"Somewhere in the distance, a"
ratio0.051
88.35% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences79
matches
0"She counted them from where"
1"She started walking."
2"It had pulsed for fourteen"
3"She had told Yu-Fei she"
4"She had told Silas nothing."
5"She had come in over"
6"She had walked this park"
7"She stopped and listened to"
8"She knew that much from"
9"She stepped over the boundary"
10"she said, out loud, to"
11"Her voice came back without"
12"She kept her eyes on"
13"It was a fox."
14"She took a mouthful of"
15"She counted her steps as"
16"Her fifth step rang slightly"
17"She waited three seconds, and"
18"She pulled her phone out"
19"She had left the car"
ratio0.329
73.92% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount61
totalSentences79
matches
0"The third stone was warm."
1"Rory lifted her hand off"
2"She counted them from where"
3"The wind had eaten the"
4"She started walking."
5"The pendant lay against her"
6"It had pulsed for fourteen"
7"She had told Yu-Fei she"
8"She had told Silas nothing."
9"The grove had no gate."
10"She had come in over"
11"She had walked this park"
12"She stopped and listened to"
13"A held breath."
14"The kind of silence that"
15"Rory looked at the stones."
16"Oak, all of them, planted"
17"That was the first thing"
18"Wildflowers in the middle of"
19"Flowers closed at night."
ratio0.772
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences79
matches(empty)
ratio0
40.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount6
matches
0"Deep crimson, thumbnail sized, hanging off a silver chain that had arrived in a padded envelope with no note and no return address and no postmark at all, which…"
1"Wildflowers in the middle of the ring in a season that had no business flowering at all, bluebells and campion and something small and yellow, all of it upright…"
2"She counted her steps as she went because counting was a job for the front of her mind, and the back of it was doing something else, something entirely its own,…"
3"She waited three seconds, and took one step, and the step behind her took one step too, half a beat late, as though it had been waiting for the noise to be free…"
4"She held them for a long time, long enough for the light to fade down and the screen to dim, and in the seconds before it blacked out she saw the flowers behind…"
5"A subtraction, a piece of the dark that had been cut out of the dark and was now standing in it, and the flowers in the ring leaned towards it, all of them, eve…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount1
matches
0"it said again, closer"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences5
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
81.4682%