Run: 2026-09-23-01M37NY7ERCYMZHA98Q8PCFV32

Run Details

Duration:
57.0s
Cost:
$0.105656
Provider:
Claude Platform on AWS

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 deer fence caught my jacket on the way over and held it, the way a child holds a sleeve. I tore free, dropped onto wet grass, and landed badly on one knee with the delivery bag clutched against my chest like it contained a newborn. Chicken chow mein. Salt and pepper squid. Two portions of egg fried rice and a single fortune cookie, which nobody ever ordered separately, but this customer had. The ticket had printed at 11:52, twenty minutes after Yu-Fei flipped the sign to closed. No phone number. No card details. Just a scrap of thermal paper curling out of the machine with an address that wasn't an address. *Oak stones. Richmond Park. For Isolde. Paid in full.* And beneath it, sitting on the counter where no one had been standing, a neat stack of fifty-pound notes tied with a green ribbon. My phone buzzed in my pocket. I thumbed it without looking. "Tell me you turned around." "I'm over the fence." "Aurora." Yu-Fei only ever used my full name when she was counting something, usually money, sometimes my mistakes. "Four hundred pounds for chow mein is not a tip. It is bait. My grandmother would call it bait." "Your grandmother isn't paying my rent." "My grandmother would have burned the money and salted the doorway." "Did you?" A pause. Paper rustled on her end of the line. "It smells of honey," she said. "Why does it smell of honey?" The signal died before I could answer. Three bars to none, as if someone had closed a door on it. I stood up and brushed the mud from my jeans. Richmond Park at night was not the Richmond Park of Sunday strollers and photographers crouched in the bracken waiting for stags. The city glowed behind me in a dirty orange smear, but ahead the land folded into itself, hill behind hill, all black grass and blacker trees. The sodium haze stopped at the fence line. Out here, the dark had texture. It had weight. It pressed against my eyes until I saw shapes that weren't there, fizzing grey specks, the ghost-static of a detuned telly. I switched on the phone torch. The beam died three metres out, swallowed. *Right. Good. Lovely.* I walked. The pendant started before anything else did. A small warmth at the hollow of my throat, the crimson stone waking against my skin like a coal someone had breathed on. I'd worn the thing for eight months, since it arrived in a padded envelope with no return address and no note, and in eight months I had learned one thing about it: it warmed when something was wrong. When something was *open*. I pressed two fingers over it. The heat pulsed back, slow and patient. A heartbeat that wasn't mine. The grass changed underfoot. Dry autumn stalks gave way to something softer, springier, and when I angled the torch downward I saw flowers. Hundreds of them. Harebells, cowslips, pale starry things I had no name for, all blooming in November as if nobody had told them the year was dying. They grew in a ring that widened as I walked, and every single head had turned in the same direction. Towards me. I stopped. The flowers stayed as they were, tilted, attentive, a crowd of tiny pale faces craning for a better look. *Plants follow light*, I told myself. *You're holding a torch. Basic biology. Year Seven stuff.* I switched the torch off. In the dark, very softly, a sound rose around my ankles. A dry, shifting whisper, like pages turning in a library a long way off. The sound of several hundred flower heads adjusting their angle. I switched the torch back on and did not look down again. The stones appeared the way bad news does, all at once and already there. Great slabs of oak, not rock, grey-black with age and polished smooth as bone, standing in a loose circle at the crest of the hill. They leaned inward. Their shadows didn't match the torch beam; they stretched outward in every direction, as if lit by something at the centre that I couldn't see. I counted them. Habit. Dad used to make me count exits in every restaurant we entered, a barrister's paranoia passed down like a family recipe. Seven stones. "Hello?" My voice came out too loud and too flat, the way voices do in rooms full of carpet. "Delivery for Isolde. Golden Empress." Nothing answered. Not an owl, not a fox, not the distant rumble of a Heathrow approach. The silence was so complete I heard the faint crackle of the thermal bag's foil lining as I shifted my grip. Then I heard my footsteps. I wasn't walking. Crunch. Crunch. Crunch. Somewhere behind me, on the dry grass beyond the flowers, a measured tread came up the hill at the exact pace I had climbed it. Same rhythm. Same slight hitch on the left step, where my knee still ached from the fence. It stopped when it reached the edge of the flowers. I didn't turn around. Every animal part of me, the part older than words, screamed at me not to turn around, and for once in my life I listened to it. "I'll just leave it here, shall I?" I set the bag down on the flat top of the nearest stone. My hands shook. I watched them do it with a detached sort of interest, as if they belonged to someone in a film. "Paid in full. No need for a tip. Have a lovely night." The pendant flared. Not warm now. Hot. A bright sting like a cigarette end pressed to my collarbone, and I hissed and yanked the chain away from my skin. I looked at my phone for the time, because the brain grabs at small ordinary things when the large things stop making sense. 11:52. The same minute the ticket printed. I watched the display. The seconds didn't move. Then, while I watched, the numbers flickered and rolled forward in a smooth blur, 12:40, 2:15, 3:58, 5:31, faster and faster, the screen dimming and brightening, dimming and brightening, and the battery icon draining from full to red to nothing, and then back to 11:52. The screen went black. In the new, total dark, something beside me exhaled. It wasn't close. That was almost worse. It came from the far side of the circle, a long slow breath let out through the nose, the way someone breathes when they've been waiting a long time and are finally, finally allowed to relax. I groped for the torch button. Pressed it. Nothing. Pressed it again, hard enough that the case creaked. The phone lit, weak and blue, one per cent, and the beam crawled out across the clearing. I counted the stones again. Eight. The eighth stood between the fourth and fifth, where there had been a gap. It was taller than the others. Thinner. Its surface had the same grey-black grain, the same bone polish, but it didn't lean inward like its neighbours. It stood straight. Upright. The way a person stands. I moved the beam away from it. Deliberately. Casually. The way you look away from a drunk on the Night Tube so he doesn't decide you're the one he wants to talk to. At the edge of the light, in the corner of my vision, the eighth stone turned its head. I snapped the beam back. Stone. Just stone. Oak and shadow and nothing. But it had moved closer. Not much. A step. The gap between it and the fourth stone had widened, and between it and me the flowers had gone flat, pressed down in a narrow track, as if something had walked across them very carefully. "Isolde?" I hated how small the name sounded. "Look, I'm just the delivery girl. I don't want any trouble. The food's getting cold." The breath came again. Closer. Warm, too, and sweet, carrying the thick cloying smell of honey left too long in the sun. It stirred the hair at the nape of my neck. From behind me. The eighth stone stood ahead of me, in front of me, I could *see* it, and the breath came from behind. *Two of them. Or it doesn't need to be where it is.* I did the only clever thing I could think of. I stepped backwards, out of the circle, towards the flowers and the fence and the orange glow of a city that had rules. One step. Two. The grass crunched under my heel. And the ground under my other foot was warm. Not sun-warm. Body-warm. The warmth of a mattress someone has just climbed out of. I looked down and saw the soil between the flowers had gone dark and wet and glossy, and it was *breathing*, rising and falling in a gentle rhythm, and beneath the skin of the earth something glowed a dull, familiar, pulsing crimson. The same colour as the stone at my throat. The pendant answered it. Heat to heat. Beat to beat. My heart stumbled trying to keep up. The fortune cookie cracked. I heard it clearly, a small brittle snap from inside the delivery bag on the stone behind me. Then the rustle of the bag opening. Then paper, unfolding. A voice read aloud. It spoke softly, pleasantly, in the patient cadence of my mother reading me stories at bedtime in our old house in Cardiff, and it wasn't my mother's voice. It wasn't anyone's. "Welcome home," it read. "Malphora." I had never heard that name in my life. My body knew it anyway. My knees went loose. The scar on my wrist, the little crescent I'd had since I was six and couldn't remember earning, split open with a sound like a sigh and began to glow. Every stone in the circle turned to face me. The ground beneath my feet gave way.
created_at"2026-09-23T17:45:12.443Z" 9/23/2026, 5:45:12 PM
model"anthropic/claude-opus-5.5-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5668
moderation_latency(null)
generation_time56788
tokens_prompt4387
tokens_completion2643
native_tokens_prompt6424
native_tokens_completion3998
native_tokens_completion_images(null)
native_tokens_reasoning823
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"end_turn"
service_tier"default"
usage0.105656
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790185512-vun5uZi5ef6QEnbPtPUG"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790185512-SzOr4ET4EuVHbZsotYn0"
upstream_id"msg_011CfLne5g14mA5TWsTNmUuF"
provider_responses
0
endpoint_id"3a2388bc-3740-4e64-a1f5-4e301726b6b9"
id"msg_011CfLne5g14mA5TWsTNmUuF"
is_byokfalse
latency1285
model_permaslug"anthropic/claude-opus-5.5-20260921"
provider_name"Claude Platform on AWS"
status200
total_cost0.105656
cache_discount(null)
upstream_inference_cost0
provider_name"Claude Platform on AWS"
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)
dialogueSentences17
tagDensity0.294
leniency0.588
rawRatio0
effectiveRatio0
81.88% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1656
totalAiIsmAdverbs6
found
0
adverb"very"
count2
1
adverb"softly"
count2
2
adverb"deliberately"
count1
3
adverb"carefully"
count1
highlights
0"very"
1"softly"
2"deliberately"
3"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)
69.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1656
totalAiIsms10
found
0
word"weight"
count1
1
word"warmth"
count2
2
word"pulsed"
count1
3
word"whisper"
count1
4
word"silence"
count1
5
word"footsteps"
count1
6
word"measured"
count1
7
word"flickered"
count1
8
word"familiar"
count1
highlights
0"weight"
1"warmth"
2"pulsed"
3"whisper"
4"silence"
5"footsteps"
6"measured"
7"flickered"
8"familiar"
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
narrationSentences165
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences165
filterMatches
0"look"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences176
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans8
markdownWords39
totalWords1656
ratio0.024
matches
0"Oak stones. Richmond Park. For Isolde. Paid in full."
1"Right. Good. Lovely."
2"open"
3"Plants follow light"
4"You're holding a torch. Basic biology. Year Seven stuff."
5"see"
6"Two of them. Or it doesn't need to be where it is."
7"breathing"
89.29% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions1
matches
0"*Plants follow light*, I told myself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions20
wordCount1554
uniqueNames12
maxNameDensity0.19
worstName"Park"
maxWindowNameDensity1.5
worstWindowName"Park"
discoveredNames
Yu-Fei2
Park3
Isolde1
Richmond3
Sunday1
November1
Seven2
Heathrow1
Night1
Tube1
Cardiff1
Crunch3
persons
0"Yu-Fei"
places
0"Park"
1"Richmond"
2"Sunday"
3"November"
4"Night"
5"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1656
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences176
matches
0"heard that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs73
mean22.68
std19.82
cv0.874
sampleLengths
046
127
239
39
424
511
65
74
837
96
1011
112
1210
1312
1420
1595
1613
173
182
1972
2018
2170
222
2321
2415
255
2635
2712
2867
2925
302
3124
3237
335
343
3545
3610
3731
3855
3929
4023
411
4214
4345
444
459
4643
4735
485
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences165
matches
0"were, tilted"
87.01% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs236
matches
0"was counting"
1"was dying"
2"wasn't walking"
3"was *breathing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences176
ratio0.006
matches
0"Their shadows didn't match the torch beam; they stretched outward in every direction, as if lit by something at the centre that I couldn't see."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1562
adjectiveStacks1
stackExamples
0"same grey-black grain,"
adverbCount58
adverbRatio0.03713188220230474
lyAdverbCount17
lyAdverbRatio0.01088348271446863
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences176
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences176
mean9.41
std9.14
cv0.971
sampleLengths
020
126
23
34
420
515
63
73
818
92
102
112
123
1324
146
155
165
174
1818
1919
206
2111
222
232
248
256
266
277
2813
2910
3021
3126
328
336
343
3521
366
377
381
391
401
412
427
4323
4438
454
466
477
485
494
66.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.4342857142857143
totalSentences175
uniqueOpeners76
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences127
matches
0"Just a scrap of thermal"
1"Then I heard my footsteps."
2"Somewhere behind me, on the"
3"Then, while I watched, the"
4"Then the rustle of the"
5"Then paper, unfolding."
ratio0.047
75.12% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount46
totalSentences127
matches
0"I tore free, dropped onto"
1"My phone buzzed in my"
2"I thumbed it without looking."
3"I stood up and brushed"
4"It had weight."
5"It pressed against my eyes"
6"I switched on the phone"
7"I'd worn the thing for"
8"I pressed two fingers over"
9"They grew in a ring"
10"*You're holding a torch."
11"I switched the torch off."
12"I switched the torch back"
13"They leaned inward."
14"Their shadows didn't match the"
15"I counted them."
16"My voice came out too"
17"I wasn't walking."
18"It stopped when it reached"
19"I didn't turn around."
ratio0.362
82.05% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount96
totalSentences127
matches
0"The deer fence caught my"
1"I tore free, dropped onto"
2"Chicken chow mein."
3"Salt and pepper squid."
4"The ticket had printed at"
5"My phone buzzed in my"
6"I thumbed it without looking."
7"Yu-Fei only ever used my"
8"Paper rustled on her end"
9"The signal died before I"
10"I stood up and brushed"
11"Richmond Park at night was"
12"The city glowed behind me"
13"The sodium haze stopped at"
14"It had weight."
15"It pressed against my eyes"
16"I switched on the phone"
17"The beam died three metres"
18"The pendant started before anything"
19"A small warmth at the"
ratio0.756
39.37% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences127
matches
0"When something was *open*."
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount3
matches
0"It pressed against my eyes until I saw shapes that weren't there, fizzing grey specks, the ghost-static of a detuned telly."
1"Harebells, cowslips, pale starry things I had no name for, all blooming in November as if nobody had told them the year was dying."
2"The gap between it and the fourth stone had widened, and between it and me the flowers had gone flat, pressed down in a narrow track, as if something had walked…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences17
tagDensity0.059
leniency0.118
rawRatio0
effectiveRatio0
92.8204%