Run: 2026-09-23-01M36S9DA0YJDTGRC92M1QAGDV

Run Details

Duration:
1m 6s
Cost:
$0.001134
Provider:
Xiaomi

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 Heartstone burned against her collarbone, and Rory stopped walking. She'd followed it for two miles through Richmond Park, past the frozen lake and the empty paddocks, the crimson gem pulsing harder with every step like a second heartbeat pressing against her sternum. She pressed two fingers to the pendant. Warm. Then hot. Then something between the two that made her teeth ache. The standing stones rose ahead of her out of the dark. Eight of them, she counted as she approached. Grey and pitted, taller than she was, arranged in a ring around a gap in the hedge where the path seemed to end. Between them, the wildflowers grew. Not that anything odd grew in November, but these pushed through the frosted earth in clumps of violet and white and something the colour of arterial blood, each petal open and dewy as though midsummer had simply forgotten this patch of ground. Rory stepped between two of the stones and felt the air change. Not temperature. It shifted like a sound does when you enter a cathedral, a pressure behind the ears. The London noise, the distant rumble of the A3, the foxes barking somewhere in the bracken, all of it flattened, swallowed. In its place, a hum. Low. Constant. The kind of frequency you felt in your fillings before you heard it. She reached for her phone. No signal. She hadn't expected otherwise. The clearing opened in front of her, perhaps twenty metres across, ringed by ancient oaks whose branches knit together overhead and blocked what little moonlight the November sky offered. The wildflowers carpeted the ground so densely she couldn't see soil beneath them. They smelled wrong, too sweet, like fruit left to rot in a warm room. "Hello?" Her voice died three feet out. No echo. No return. The word just stopped, as though the clearing had caught it and decided to keep it. Rory pulled her jacket tighter and stepped forward. The pendant pulsed again, and she followed it toward the centre of the grove where the flowers thinned and the earth showed dark and soft, criss-crossed with roots that moved. She blinked. The roots didn't move. They were roots. She crouched and pressed her thumb to the nearest one, and it was cool and damp and still, and nothing about it was alive or shifting beneath its bark. She straightened. Something stood at the far edge of the clearing. Not stood. The word was wrong. It was there, a shape between two oaks, too tall, too thin, bent at an angle that no spine should accommodate. Rory stared at it. It didn't move. The moment she tried to focus on it, the detail blurred, as though her eyes refused the information and tried to smooth it over with shadow and bark and leaf. She looked away. Looked back. Nothing. Just trees. The hum in her teeth sharpened. Rory took a step back, and her heel caught something soft. She looked down. A shoe. A child's trainer, pink, caked in mud, lying on its side in the wildflowers. She picked it up. The sole was worn thin. Inside, damp. Not rained-on damp, recently-worn damp, the kind of warmth that lingers after a foot leaves. She set it down carefully and scanned the clearing. Another shoe appeared to her left, twenty paces out, a brown boot this time, upright, laces trailing into the flowers like roots of their own. Then another. A school loafer. A slipper. They scattered the ground in a rough spiral around her, pointing inward, as though each person who'd worn them had been walking toward the centre when they'd stepped out of them. None of them were bare. The ground held no prints. No bare feet pressed into the soft earth between the shoes. Rory's hand found the pendant again. It had stopped pulsing. It sat dead and cold against her skin, and the absence of its warmth felt worse than the heat had. A branch cracked behind her. She spun. Nothing. The oaks stood motionless, their branches locked together, the leaves too still for wind, though there hadn't been wind when she arrived either. Then the flowers turned. Not all of them. A single patch near the eastern edge of the clearing, roughly where the tall shape had been, tilted their heads in unison, petal to petal, tracking something that moved through the trees beyond the ring of stones. The movement was slow, deliberate, the kind of attention flowers don't have, the kind of attention something with a nervous system has. Rory backed toward the gap between the stones. She hit the first stone and turned, pressing her back to it. The granite was cold, then cold and slick, then slick and warm, and the warmth spread into her shoulder blades like a hand settling there. She jerked forward. "Who's there?" The clearing answered with a sound that might have been laughter, filtered through water, through earth, through something with no mouth. It came from everywhere and nowhere and it lasted a breath before it folded in on itself and was gone. Her phone screen glowed in her pocket. She pulled it out. No signal, but the screen showed 11:47 PM. She'd left the bar at 11:15. She'd walked for two miles, then stood here for what felt like an hour. Thirty-two minutes. The wildflowers closest to her began to wilt. Not from cold. Not from disease. They collapsed inward, petals folding, stems thickening, colour draining to bone-white, and the wilting spread outward from her feet like a ring in water, a circle of death expanding metre by metre. Within seconds, everything within arm's reach was grey and drooping, and the sweet rot-smell turned to copper, to iron, to the metallic bite of an open wound. Something reached through the trees. A hand. Long-fingered, jointed wrong, too many knuckles, the skin the colour of birch bark and just as dry. It gripped the trunk of the eastern oak and pulled, and the trunk groaned, and the fingers dug into the wood and left gouges that wept sap like blood. Rory ran. She crossed the clearing in four strides, hit the gap between the stones, and the air changed again, thickened, pressed against her chest like a palm. She pushed through it, stumbled onto the path, and the London noise rushed back in all at once, the A3 rumbling, the foxes barking, her own ragged breath tearing from her throat. She turned. The gap between the stones was empty. Wildflowers. Frost. Nothing else. Then a single pink trainer sat on the path behind her, laces twitching, and the Heartstone Pendant went cold, and from inside the grove came the sound of someone humming a lullaby Rory's mother used to sing, in her mother's voice, except her mother had never set foot in Richmond Park, had never been further east than Swindon, and the humming went on and on, soft and wrong, and the wildflowers at the edge of the clearing began to wilt again, and this time the circle of grey moved faster, and it was coming toward her.
created_at"2026-09-23T09:24:30.151Z" 9/23/2026, 9:24:30 AM
model"xiaomi/mimo-v2.6-flash-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1787
moderation_latency(null)
generation_time65945
tokens_prompt4387
tokens_completion2228
native_tokens_prompt4141
native_tokens_completion1979
native_tokens_completion_images(null)
native_tokens_reasoning461
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)
usage0.00113386
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790155470-MBR1T0ya6yI5sr9JKU25"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790155470-aR1KrOFP39E6aPAoWJbr"
upstream_id"ca3e11e1-2db5-4a61-bf08-006c5d236b7c_d629bb5513424b2484b6986f80b26395"
provider_responses
0
endpoint_id"6f7ea660-c5e2-492e-8a39-ec254953b3ae"
id"ca3e11e1-2db5-4a61-bf08-006c5d236b7c_d629bb5513424b2484b6986f80b26395"
is_byokfalse
latency1734
model_permaslug"xiaomi/mimo-v2.6-flash-20260921"
provider_name"Xiaomi"
status200
total_cost0.00113386
cache_discount(null)
upstream_inference_cost0
provider_name"Xiaomi"
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
totalTags0
95.78% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1186
totalAiIsmAdverbs1
found
0
adverb"carefully"
count1
highlights
0"carefully"
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)
74.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1186
totalAiIsms6
found
0
word"echo"
count1
1
word"pulsed"
count1
2
word"warmth"
count3
3
word"scanned"
count1
highlights
0"echo"
1"pulsed"
2"warmth"
3"scanned"
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)
75.47% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences106
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
2"appeared to"
3"began 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
maxSentenceWordsSeen96
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1186
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
totalMentions21
wordCount1183
uniqueNames8
maxNameDensity0.76
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Heartstone2
Rory9
Richmond2
Park2
November2
London2
Pendant1
Swindon1
persons
0"Heartstone"
1"Rory"
places
0"Richmond"
1"Park"
2"November"
3"London"
globalScore1
windowScore1
57.41% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences54
glossingSentenceCount2
matches
0"something between the two that made her teeth a"
1"felt like an hour"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.843
wordCount1186
matches
0"Not that anything odd grew in November, but these pushed through the frosted earth in clumps of violet"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences108
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs39
mean30.41
std26.93
cv0.885
sampleLengths
010
153
211
378
412
559
611
756
81
926
108
1168
122
139
1464
158
166
1756
1872
1921
2030
215
2226
234
2463
258
2640
272
2841
2941
308
3165
325
3348
342
3558
362
3711
3896
95.33% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences106
matches
0"was, arranged"
1"been, tilted"
2"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs193
matches
0"was coming"
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
wordCount1190
adjectiveStacks0
stackExamples(empty)
adverbCount36
adverbRatio0.030252100840336135
lyAdverbCount5
lyAdverbRatio0.004201680672268907
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
mean10.98
std12.96
cv1.18
sampleLengths
010
133
27
31
42
510
611
78
823
95
1042
1112
122
1316
1421
155
161
171
1813
195
202
214
2229
2313
2414
251
266
272
282
2916
308
3130
322
334
343
3529
362
379
382
394
4021
414
423
4330
443
452
461
472
486
4911
38.89% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.28703703703703703
totalSentences108
uniqueOpeners31
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences79
matches
0"Then something between the two"
1"Then the flowers turned."
2"Then a single pink trainer"
ratio0.038
73.16% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences79
matches
0"She'd followed it for two"
1"She pressed two fingers to"
2"It shifted like a sound"
3"She reached for her phone."
4"She hadn't expected otherwise."
5"They smelled wrong, too sweet,"
6"Her voice died three feet"
7"They were roots."
8"She crouched and pressed her"
9"It was there, a shape"
10"It didn't move."
11"She looked away."
12"She looked down."
13"She picked it up."
14"She set it down carefully"
15"They scattered the ground in"
16"It had stopped pulsing."
17"It sat dead and cold"
18"She hit the first stone"
19"She jerked forward."
ratio0.367
61.27% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount63
totalSentences79
matches
0"The Heartstone burned against her"
1"She'd followed it for two"
2"She pressed two fingers to"
3"The standing stones rose ahead"
4"Rory stepped between two of"
5"It shifted like a sound"
6"The London noise, the distant"
7"The kind of frequency you"
8"She reached for her phone."
9"She hadn't expected otherwise."
10"The clearing opened in front"
11"The wildflowers carpeted the ground"
12"They smelled wrong, too sweet,"
13"Her voice died three feet"
14"The word just stopped, as"
15"Rory pulled her jacket tighter"
16"The pendant pulsed again, and"
17"The roots didn't move."
18"They were roots."
19"She crouched and pressed her"
ratio0.797
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences79
matches(empty)
ratio0
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount5
matches
0"Not that anything odd grew in November, but these pushed through the frosted earth in clumps of violet and white and something the colour of arterial blood, eac…"
1"Not rained-on damp, recently-worn damp, the kind of warmth that lingers after a foot leaves."
2"They scattered the ground in a rough spiral around her, pointing inward, as though each person who'd worn them had been walking toward the centre when they'd st…"
3"A single patch near the eastern edge of the clearing, roughly where the tall shape had been, tilted their heads in unison, petal to petal, tracking something th…"
4"Then a single pink trainer sat on the path behind her, laces twitching, and the Heartstone Pendant went cold, and from inside the grove came the sound of someon…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
87.5197%