Run: 2026-09-23-01M37P73NTBWKJSHCSVC7HMSKY

Run Details

Duration:
51.9s
Cost:
$0.024642
Provider:
AionLabs

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 chain was burning her neck before Aurora even reached the fence. She'd felt the pendant warm on the tube, warmer on the bus, and by the time she'd walked the length of Petersham Road it pulsed against her sternum like a second heartbeat, quick and insistent. Three days it had been doing this. Three days of a low, crimson tug through the city, pulling her south-west along the Thames until tonight it had finally hauled her here, to a five-bar gate and a CLOSED AT DUSK sign at the edge of Richmond Park. She hooked her fingers through the wire and climbed. Her trainer caught the top rail, and she dropped into the grass on the other side with a soft thud. "Fine," she whispered to the dark. "I'm here. Happy?" The park didn't answer. That was the first wrong thing, though it took her a hundred yards to notice it. Richmond Park at night was never silent. She knew that from the delivery runs, from evenings cycling the perimeter road with Eva. There should have been foxes screaming, owls, the distant wash of the A308, a plane crawling its way toward Heathrow overhead. Instead there was nothing. Her own footsteps sounded borrowed, like someone else's shoes walking somewhere behind her. She checked her phone. 2:47 a.m. Full signal, seventy-one per cent battery. The map showed the little blue dot of her, alone in a big green smear of nothing. The pendant flared hot. She hissed and lifted the chain away from her skin. Deep in the gem, that faint inner glow had brightened, and it was pulsing now in a rhythm she recognised after three sleepless nights. Not hers. Slower. Patient. A countdown, or an invitation. "Whatever you are," she muttered, "you'd better be worth the fence climb." She followed the pull off the path and into the trees. The grass got strange first. It went from park-grass, clipped and municipal, to something longer and silvered, moving without wind. Then the flowers started. Small white ones, scattered like spilled salt, and they had no business here, not in December, not with frost stiffening the mud around them. She crouched and touched one petal. Warm. The whole plant was warm, like it had been lying against somebody's skin. The deer came next. She saw them at the tree line, a whole herd of them, standing in the dark between the oaks. Not grazing. Not sleeping. Every head was turned towards her, ears pricked, and none of them breathed that she could see, no puff of vapour in the cold air, nothing. She stood very still and counted eleven pairs of eyes catching the moonlight. One of them stamped its hoof. Once. Sharp as a gunshot. The entire herd turned, in unison, and looked behind them, deeper into the wood, as if checking whether the thing behind them was still where they'd left it. Then they ran. All of them, silent, no thunder of hooves, just eleven pale shapes pouring away through the trees like smoke. Rory's mouth had gone dry. The crescent scar on her left wrist ached, the way it did before storms. "Okay," she breathed. "Okay. Not okay, actually. Not even slightly." But the pendant was practically dragging her now, and she'd come too far, and somewhere in the back of her skull a small sensible voice that sounded like her father said turn around, Rory, and she kept walking. That was the thing about her, Eva always said. Quick out-of-the-box thinking, zero out-of-the-box self-preservation. The standing stones rose out of the dark ahead of her. She stopped at the edge of the clearing and just looked, because the codex of her life had nothing for this. Ancient oaks, or things shaped like oaks, worn smooth as river stones, arranged in a rough circle maybe twenty paces across. Wildflowers carpeted the ground between them, a full summer riot of colour, red campion and ox-eye daisies and things she didn't have names for, blooming in open defiance of the frost on every surrounding blade of grass. The air above the circle shimmered, faint as heat-haze, and it was warm here, properly warm, the kind of night-warm that belonged to June. The pendant's glow lit her collarbone red through her shirt. She checked her phone again. The screen showed 2:47 a.m. She waited, watching the numbers. They didn't move. The battery icon sat frozen mid-slice. She pressed the power button and the screen died to black, and when she thumbed it again nothing came, just her own face reflected in the glass, pale, eyes too wide. Somewhere in the flowers, something laughed. Low, breathy, gone before she could turn her head toward it. "Who's there?" Her voice fell flat, eaten by the clearing. No echo. No birds startled up. She became aware, all at once, of the quality of the silence, thick as wool, and underneath it, if she held still, something else. A sound below sound. Breathing. Long, slow, huge, like the clearing itself had lungs. The pendant pulsed in time with it. She looked down at the crimson stone, then up at the stones, and felt the floor of her stomach drop away, because the pulse matched. Exactly. In and out. The gem and the breathing and the warm dark air, one rhythm. She took one step back. Every flower in the clearing turned its face towards her. Not fast. That was the worst part, she thought, standing frozen with her heart slamming her ribs. Slow. Unhurried. A thousand small heads rotating on their stems like sunflowers at dawn, settling on her with the gentle patience of things that had all the time in the world, because here, she remembered too late, an hour could be a minute or a week, and time in this place belonged to whatever was doing the breathing. "I only came to see," she said, and hated how small it came out. "I'll go. I'm going." She took another step back, and behind her, in the trees where she'd entered, something took a step forward. The exact same size. The exact same pace. Then nothing, as if it had never moved, but the grass there was bent now, she could see it in the pendant's red glow, a single pressed stripe through the silver blades. Don't look back. She didn't know where the rule came from, some old film, some instinct older than films, but she obeyed it, eyes fixed on the standing stones, backing away from the circle one careful step at a time while the flowers tracked her like a crowd. The breathing quickened. The pendant flared, hot enough to make her gasp, and the heat-haze between the stones rippled and parted, and in the gap, in the space between the two tallest oaks where there had been nothing but darkness a heartbeat before, there was a figure. Tall. Slender. Watching her with eyes like frost on black water. It knew her name. It opened its mouth to prove it. "Malphora," it said, in a voice like her mother's, and the whole grove sighed with pleasure, "you're late."
created_at"2026-09-23T17:50:03.486Z" 9/23/2026, 5:50:03 PM
model"aion-labs/aion-3.5-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1416
moderation_latency(null)
generation_time51799
tokens_prompt4387
tokens_completion2253
native_tokens_prompt4126
native_tokens_completion2044
native_tokens_completion_images(null)
native_tokens_reasoning548
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)
usage0.024642
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
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request_id"req-1790185803-wTQ4QXNAWeIhb4rT7zOg"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790185803-20jkr7qcHPsFTQRsn3cH"
upstream_id"235403e2d3ca464e8d584c3f51b34c7a"
provider_responses
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endpoint_id"09b1fc56-3888-42bd-b7a0-926851c7f9d6"
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is_byokfalse
latency1411
model_permaslug"aion-labs/aion-3.5-20260923"
provider_name"AionLabs"
status200
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cache_discount(null)
upstream_inference_cost0
provider_name"AionLabs"
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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)
dialogueSentences9
tagDensity0.556
leniency1
rawRatio0
effectiveRatio0
91.58% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1188
totalAiIsmAdverbs2
found
0
adverb"very"
count1
1
adverb"slightly"
count1
highlights
0"very"
1"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)
62.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1188
totalAiIsms9
found
0
word"pulsed"
count2
1
word"footsteps"
count1
2
word"shimmered"
count1
3
word"echo"
count1
4
word"silence"
count1
5
word"stomach"
count1
6
word"pulse"
count1
7
word"quickened"
count1
highlights
0"pulsed"
1"footsteps"
2"shimmered"
3"echo"
4"silence"
5"stomach"
6"pulse"
7"quickened"
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
narrationSentences100
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences100
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences104
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1188
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions15
wordCount1152
uniqueNames11
maxNameDensity0.17
worstName"Richmond"
maxWindowNameDensity1
worstWindowName"Richmond"
discoveredNames
Aurora1
Petersham1
Road1
Thames1
Richmond2
Park2
Eva2
Heathrow1
December1
Rory2
June1
persons
0"Aurora"
1"Eva"
2"Rory"
places
0"Petersham"
1"Road"
2"Thames"
3"Richmond"
4"Park"
5"Heathrow"
6"December"
7"June"
globalScore1
windowScore1
62.28% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences57
glossingSentenceCount2
matches
0"as if checking whether the thing behind them was still where they'd left it"
1"sounded like her father said turn around,"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1188
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences104
matches
0"breathed that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs36
mean33
std26.84
cv0.813
sampleLengths
012
182
229
39
480
529
647
712
811
968
104
1162
1211
1328
1422
1519
1610
1753
1811
19103
2010
2155
2217
232
2452
2548
265
2710
2875
2918
3059
3148
323
3355
3411
3518
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences100
matches(empty)
40.32% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs167
matches
0"was burning"
1"was pulsing"
2"was practically dragging"
3"was doing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences104
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1162
adjectiveStacks1
stackExamples
0"Long, slow, huge, like"
adverbCount34
adverbRatio0.029259896729776247
lyAdverbCount4
lyAdverbRatio0.0034423407917383822
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences104
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences104
mean11.42
std11.29
cv0.988
sampleLengths
012
135
27
340
49
520
66
73
84
916
107
1115
1221
134
1413
154
162
176
1817
194
2010
2124
222
231
241
255
2612
2711
285
2915
304
3124
326
331
3413
354
3619
372
382
3926
4013
416
421
434
4428
453
4619
475
4814
493
66.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.46153846153846156
totalSentences104
uniqueOpeners48
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences82
matches
0"Instead there was nothing."
1"Then the flowers started."
2"Then they ran."
3"Somewhere in the flowers, something"
4"Then nothing, as if it"
ratio0.061
83.41% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences82
matches
0"She'd felt the pendant warm"
1"She hooked her fingers through"
2"Her trainer caught the top"
3"she whispered to the dark"
4"She knew that from the"
5"Her own footsteps sounded borrowed,"
6"She checked her phone."
7"She hissed and lifted the"
8"She followed the pull off"
9"It went from park-grass, clipped"
10"She crouched and touched one"
11"She saw them at the"
12"She stood very still and"
13"She stopped at the edge"
14"She checked her phone again."
15"She waited, watching the numbers."
16"They didn't move."
17"She pressed the power button"
18"Her voice fell flat, eaten"
19"She became aware, all at"
ratio0.341
94.15% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount60
totalSentences82
matches
0"The chain was burning her"
1"She'd felt the pendant warm"
2"She hooked her fingers through"
3"Her trainer caught the top"
4"she whispered to the dark"
5"The park didn't answer."
6"That was the first wrong"
7"Richmond Park at night was"
8"She knew that from the"
9"There should have been foxes"
10"Her own footsteps sounded borrowed,"
11"She checked her phone."
12"The map showed the little"
13"The pendant flared hot."
14"She hissed and lifted the"
15"A countdown, or an invitation."
16"She followed the pull off"
17"The grass got strange first."
18"It went from park-grass, clipped"
19"She crouched and touched one"
ratio0.732
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences82
matches(empty)
ratio0
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount4
matches
0"The entire herd turned, in unison, and looked behind them, deeper into the wood, as if checking whether the thing behind them was still where they'd left it."
1"That was the worst part, she thought, standing frozen with her heart slamming her ribs."
2"A thousand small heads rotating on their stems like sunflowers at dawn, settling on her with the gentle patience of things that had all the time in the world, b…"
3"Then nothing, as if it had never moved, but the grass there was bent now, she could see it in the pendant's red glow, a single pressed stripe through the silver…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"she whispered (whisper)"
1"she muttered (mutter)"
2"she breathed (breathe)"
dialogueSentences9
tagDensity0.556
leniency1
rawRatio0.6
effectiveRatio0.6
85.5213%