Run: 2026-09-23-01M36WG9SKV4N7MJ14WGF1SPRJ

Run Details

Duration:
50.6s
Cost:
$0.000543
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 pulled at her collarbone like a small, warm hand, and Rory stopped walking. She'd followed it through three gates and two shortcuts that didn't exist on any map, her trainers crunching over gravel paths that seemed to rearrange themselves behind her. Now the pendant pulsed again, a gentle thrum against her sternum, and she stood at the edge of a clearing she'd never seen before, despite living three streets from Richmond Park for over a year. The standing stones were taller than she'd expected. Ancient oaks, their bark split and silvered with age, rose at irregular intervals around the clearing's perimeter like knuckles on a buried fist. Between them, wildflowers carpeted the ground in impossible colour, whites and deep purples and crimson reds that gleamed without a moon to catch them. She checked her phone. 11:47 PM. The signal had died somewhere past the boot gate, a single bar flickering once before surrendering to a crossed-out circle. Something had led her here. Not the pendant exactly, though it had certainly done its part. More like a thread, thin and barely there, tugging at the base of her skull. She'd felt it since leaving Silas' bar, threading through her headaches for the past three days, waking her at 3 AM with a certainty she couldn't name. Rory stepped between the first two stones. The air changed. Not temperature, though the warmth of London's late summer dropped away entirely, replaced by a coolness that settled into her bones like water filling a glass. The sound changed too. Traffic from the Park Lane roundabout, a sound she'd heard every night from her flat, simply stopped. In its place: silence so complete it pressed against her eardrums. The wildflowers swayed. There was no breeze. She counted seven steps into the clearing before her phone screen went black. Not died, went black. The battery indicator had shown forty percent a moment ago. She pressed the power button. Nothing. She pressed it again, harder, and felt the plastic housing creak under her thumb. The pendant pulsed warmer against her skin. "Don't do this," she whispered to herself, because she'd spent enough time in courtrooms to know that talking through a problem kept the logic centres firing. "You're standing in a field. It's a field." The oak standing stones did not respond. She looked at them anyway, one by one, starting with the nearest. Lichen mapped the bark in fractal patterns, pale green and sickly white. Carved into the wood at roughly eye level, she found markings. Not recent. The edges had softened to almost nothing, worn smooth by centuries of rain and hands that might have been hands. A spiral. A spiral with something inside it. She leaned closer, her breath fogging slightly despite the still air, and traced the inner shape with her fingertip. It was a hand. Reaching out. She pulled her finger back and rubbed it against her jeans. The skin tingled, a pins-and-needles sensation that crept up to her wrist and settled there, just above the crescent scar from when she'd been ten and tried to ride her brother's bike down the hill at Pontcanna. A sound behind her. Not loud. Not dramatic. The soft, deliberate placement of a foot on grass, the kind of sound a person makes when they're trying not to be heard and getting close. Rory turned. The clearing stretched behind her, unchanged. Flowers, stones, darkness pressing at the perimeter where the oak trunks gave way to deeper parkland. Nothing moved. Nothing breathed. She counted to five in Welsh, a habit from her mother's kitchen, and listened. At four, she heard it again. Further left this time. The whisper of fabric against bark. "Silas?" she called, because Silas kept odd hours and drank worse, and if anyone in her life would be lurking in Richmond Park at midnight it would be him. "If that's you, I swear I'll—" Silence swallowed the rest. She pressed her hand over the pendant. It burned now, not painfully, but with the steady insistence of a cup of tea held too close. The faint glow beneath her fingers had shifted from crimson to something darker, a purple-black that seemed to drink what little light the clearing offered. Rory walked deeper. She didn't decide to walk deeper. Her feet simply carried her, one after the other, across the wildflower carpet toward the far side of the clearing where a cluster of stones formed an archway she hadn't noticed before. The thread at the base of her skull pulled harder, and she followed it because standing still in a place where footsteps arrived without owners struck her as worse. The archway was narrow. Enough room for one person, shoulders brushing both sides. The stones on either side were covered in the same carved spirals, hundreds of them, layering over each other like the scribbles of a patient confined to a cell. Through the arch, the clearing continued, but different. The flowers here grew taller, waist-high, their petals opening wide despite the darkness, each one turned slightly to face the same direction. Toward her. A breeze finally arrived, carrying a scent she couldn't place. Not flowers. Not earth. Something older, the smell of a room sealed for decades, of dust and damp stone and something faintly sweet underneath, like fruit left too long. The pendant jerked against her chest, a sharp pulse, and Rory's hand flew to it. "Hel," she said, the word tasting foreign in her mouth. The pendant had led her to a portal before, or near enough, and Yu-Fei had explained what Hel was in the only way Yu-Fei ever explained anything: in riddles, with tea, while watching Rory's face for the moment understanding dawned. Now the pendant pulsed again, and again, rhythm changing, faster, and the glow had shifted to deep green, the colour of canal water in August. Behind her, something moved between the oak stones. This time she saw it. A shape, tall and thin, sliding from one trunk to the next with a fluidity that no human body could replicate. It didn't run. It glided, as though the air had thickness it could push through. Between the stones, in the gaps between trunks, it moved in perfect silence, and she tracked it because looking away felt like feeding it. It stopped behind the third stone. Waited. Rory's pulse hammered in her throat. She measured the distance to the archway. Ten metres, maybe twelve. The shape behind the stone didn't follow. It waited, and its patience felt worse than pursuit. "Show yourself," she said, and her voice came out even, level, the courtroom voice she deployed when facts had gone sideways and the only weapon left was composure. The shape stepped out from behind the stone. It had no face. Not hidden, not shadowed. The space where features should have been was smooth and pale as river stone, catching light that had no source. It stood as tall as the oaks, maybe taller, and its limbs bent in places that made Rory's stomach lurch, elbows folding outward before bending inward, fingers too long, reaching. The pendant shrieked against her collarbone, a heat so sudden she gasped, and the glow turned white, blinding, throwing her own shadow behind her in four directions at once. The shape recoiled. Its featureless head tilted, and though it had no eyes, Rory felt the weight of attention, heavy and cold, pressing into her skull like fingers pushing into clay. Then it smiled. Not with a mouth. The smooth surface simply curved, a crack splitting the stone-pale skin from ear to ear where ears would have been, and inside was darkness with teeth, hundreds of them, small and white and filed to points. The wildflowers around Rory's feet began to wilt. One by one, petals curling inward, stems bowing, colour draining to grey and then to nothing, leaving behind stems as thin and sharp as needles. The shape took a step toward her. The pendant burned so hot it branded her skin, and Rory ran.
created_at"2026-09-23T10:20:41.66Z" 9/23/2026, 10:20:41 AM
model"xiaomi/mimo-v2.6-flash-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1933
moderation_latency(null)
generation_time50572
tokens_prompt4387
tokens_completion2168
native_tokens_prompt4141
native_tokens_completion1875
native_tokens_completion_images(null)
native_tokens_reasoning166
native_tokens_cached4096
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)
usage0.000542768
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790158841-3pzhUcAJUL0ly2HxeOe0"
session_id(null)
preset_id(null)
api_type"completions"
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upstream_id"c8d69fad-ae40-4f76-a68a-fc7e284cbc20_96c9133c556f411887f3437113b3e450"
provider_responses
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endpoint_id"6f7ea660-c5e2-492e-8a39-ec254953b3ae"
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is_byokfalse
latency1854
model_permaslug"xiaomi/mimo-v2.6-flash-20260921"
provider_name"Xiaomi"
status200
total_cost0.000542768
cache_discount0.000561971
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
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences6
tagDensity0.833
leniency1
rawRatio0
effectiveRatio0
92.54% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1341
totalAiIsmAdverbs2
found
0
adverb"slightly"
count2
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)
36.61% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1341
totalAiIsms17
found
0
word"pulsed"
count3
1
word"warmth"
count1
2
word"silence"
count3
3
word"traced"
count1
4
word"whisper"
count1
5
word"footsteps"
count1
6
word"pulse"
count2
7
word"perfect"
count1
8
word"measured"
count1
9
word"stomach"
count1
10
word"lurch"
count1
11
word"weight"
count1
highlights
0"pulsed"
1"warmth"
2"silence"
3"traced"
4"whisper"
5"footsteps"
6"pulse"
7"perfect"
8"measured"
9"stomach"
10"lurch"
11"weight"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences107
matches(empty)
89.45% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences107
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1341
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount1298
uniqueNames13
maxNameDensity0.85
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Heartstone1
Rory11
Richmond2
Park3
London1
Lane1
Pontcanna1
Welsh1
Silas1
Silence1
Yu-Fei2
Hel1
August1
persons
0"Heartstone"
1"Rory"
2"Silas"
3"Silence"
4"Yu-Fei"
places
0"Richmond"
1"Park"
2"London"
3"Lane"
4"Pontcanna"
5"Welsh"
6"August"
globalScore1
windowScore1
78.57% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount2
matches
0"paths that seemed to rearrange themselves behind her"
1"felt like feeding it"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.746
wordCount1341
matches
0"not painfully, but with the steady insistence of a cup of tea held too close"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences109
matches
0"know that talking"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs47
mean28.53
std20.04
cv0.702
sampleLengths
015
163
255
326
458
57
661
77
847
97
1034
117
1257
1327
146
1548
164
1730
182
1926
2014
2116
2235
234
2450
253
2667
2742
2832
2939
3015
3150
3225
338
3465
357
3633
3728
388
3958
4029
4131
423
4340
4433
457
4612
95.43% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences107
matches
0"been ten"
1"were covered"
2"been was"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs206
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences109
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount208
adjectiveStacks0
stackExamples(empty)
adverbCount7
adverbRatio0.03365384615384615
lyAdverbCount3
lyAdverbRatio0.014423076923076924
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean12.3
std10.08
cv0.82
sampleLengths
015
128
235
38
423
524
64
72
820
95
1011
1115
1227
137
143
1526
164
1717
1811
193
204
2113
224
2310
245
251
2614
277
2826
298
307
3112
3212
3311
342
3520
362
376
3819
394
402
4111
4237
434
442
452
4626
472
486
4916
52.91% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.3669724770642202
totalSentences109
uniqueOpeners40
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences93
matches
0"More like a thread, thin"
1"Further left this time."
2"Then it smiled."
ratio0.032
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences93
matches
0"She'd followed it through three"
1"She checked her phone."
2"She'd felt it since leaving"
3"She counted seven steps into"
4"She pressed the power button."
5"She pressed it again, harder,"
6"she whispered to herself, because"
7"She looked at them anyway,"
8"She leaned closer, her breath"
9"It was a hand."
10"She pulled her finger back"
11"She counted to five in"
12"she called, because Silas kept"
13"She pressed her hand over"
14"It burned now, not painfully,"
15"She didn't decide to walk"
16"Her feet simply carried her,"
17"she said, the word tasting"
18"It didn't run."
19"It glided, as though the"
ratio0.29
83.66% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount70
totalSentences93
matches
0"The Heartstone pulled at her"
1"She'd followed it through three"
2"The standing stones were taller"
3"She checked her phone."
4"The signal had died somewhere"
5"Something had led her here."
6"She'd felt it since leaving"
7"Rory stepped between the first"
8"The air changed."
9"The sound changed too."
10"Traffic from the Park Lane"
11"The wildflowers swayed."
12"She counted seven steps into"
13"The battery indicator had shown"
14"She pressed the power button."
15"She pressed it again, harder,"
16"The pendant pulsed warmer against"
17"she whispered to herself, because"
18"The oak standing stones did"
19"She looked at them anyway,"
ratio0.753
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences93
matches
0"Now the pendant pulsed again,"
1"Now the pendant pulsed again,"
ratio0.022
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount2
matches
0"She'd followed it through three gates and two shortcuts that didn't exist on any map, her trainers crunching over gravel paths that seemed to rearrange themselv…"
1"Between them, wildflowers carpeted the ground in impossible colour, whites and deep purples and crimson reds that gleamed without a moon to catch them."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"she said, the word tasting foreign in her mouth"
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences6
tagDensity0.667
leniency1
rawRatio0.25
effectiveRatio0.25
89.3056%