Run: 2026-09-23-01M37PSEFR0114SQ4SBCMXC9A6

Run Details

Duration:
41.5s
Cost:
$0.016157
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 pendant burned against Rory's sternum before she even reached the stones. She'd felt it at sundown, a warm pulse like a second heartbeat under her shirt, and it had dragged her across half of London to Richmond Park with nothing but a torch, her bike, and a stubbornness her mother called the Carter curse. Now the standing oaks rose out of the dark ahead of her, ancient and pale, arranged in a ring like the teeth of something that had died with its mouth open. The pulse quickened. Thud. Thud. Thud. "Fine. I'm coming." Her voice came out smaller than she intended. The park behind her had gone quiet a mile back, the distant hiss of the A3 fading as if someone had turned a dial, and no gate had marked where the noise ended. She'd simply walked through it, like a curtain. The Heartstone flared as she stepped between two of the oak stones. Warmth flooded her chest, then vanished. Cold took its place, the wet, green cold of a cellar, and the clearing opened up around her. Wildflowers carpeted the ground, a full bloom in the dead of winter. White campion, violets, foxgloves. Her torch beam swept across them and they shivered, all together, in the same direction, though no wind touched her face. Rory stood still and counted. One, two, three. The shiver came again. Same direction. Toward her. She lowered the beam. *Trick of the light. Roots shifting. Something under the soil.* She took out her phone. 11:42 pm, three bars of signal, and a text to Eva already typed and unsent: *At the grove. You were right about the stones.* Eva had asked her to come here two weeks ago, before Eva stopped answering her phone. Before the pendant arrived in a padded envelope with no return address, deep crimson stone on a silver chain, and a note in handwriting Rory almost recognised: *Wear it. Go where it pulls you. Don't go alone.* She'd gone alone anyway. Eva's note had also said *don't trust the quiet*, and Rory had laughed at that, alone in her flat above Silas' bar. Nobody was laughing now. The clearing was perhaps forty feet across, ringed by the stones, and the sky above it held more stars than London had any right to see. That was the first wrong thing, she realised. Not the flowers. The sky. It was too clear, too deep, and the moon sat fat and orange over the treeline like a held breath. The second wrong thing was the birdsong. Full, bright, springtime birdsong, robins and blackbirds and something that sounded like a nightingale, coming from trees that stood bare and black and empty. She swept the torch across every branch. Nothing. The song continued, sweet and layered and coming from nowhere, and beneath it, faint as a pulse under skin, something answered. A tapping. Wood on wood. Steady. Patient. Tap. Tap. Tap. The pendant went cold against her chest. Rory turned a slow circle, torch up. The tapping kept its rhythm regardless of where she pointed the beam, which meant she couldn't find its source, which meant it was moving, or she was. Her boots had stopped crunching on frost at some point. She looked down. The ground beneath the flowers was dark and soft and gave slightly under her weight, the way a mattress gives, the way flesh gives. She stepped back onto it anyway. There was nowhere else to step. "Eva?" Her voice bent the birdsong aside. For a full breath, everything held. Then the birds answered her. "Rory." Not Eva's voice. Not quite. It had Eva's cadence, the lilt of it, the way she swallowed the second syllable, but the pitch sat half a tone low, like a recording played a fraction too slow. It came from the trees on her left. "I know that trick." Her hands shook anyway. "You did the same thing through the letterbox in Cardiff. October. You made me jump so hard I dropped my tea." "Rory." Closer now. From the trees on her right, the opposite side, though nothing had crossed the clearing between the two points. This time the voice had found the right pitch, and it hadn't found Eva. It had found Evan. Her Evan. The soft, patient tone he used when he was explaining, for the third time, why the bruise was her fault. "You're not him either." "Come and see." Tap. Tap. Tap. The moon had moved. Rory noticed it the way you notice a picture frame hanging crooked, a small domestic wrongness that took a moment to become enormous. She'd been in the clearing for minutes. Five, ten at most. The moon had cleared the treeline and now stood high and white and small, hours of sky away from where it had been. Her phone screen agreed: 3:07 am. The battery icon sat in the red. She'd charged it at half nine. "Okay." She kept her voice level, the way she kept it with difficult clients at the restaurant, with Evan, with anyone who might bite. "Time moves wrong here. Noted. Eva warned me. So we're going to be very calm about this." The birdsong stopped. All of it, at once, like a plug pulled. In the silence, the flowers turned. She caught it at the edge of the torch beam, a soft collective shift across the clearing, every white face of every campion swivelling on its stem. Not toward the trees. Not toward the sky. Toward the centre of the grove, where nothing stood. Yet. The tapping became a knocking. Wood on wood, or something harder, and it came from the empty air at the clearing's centre now, from a patch of darkness the torch refused to light. Rory's beam passed across it and slid off, the way light slides off deep water, and inside that darkness, a seam opened. Vertical. Thin as a coin slot. Orange light bled from it, the colour of the moon's held breath, and the seam widened by inches, and the knocking became frantic, both fists now, a sound she'd heard a thousand times through a hundred doors. Someone wanted out. The pendant flared so hot she gasped and clutched her chest through her shirt. The crimson stone pulsed in time with the seam's widening, quick and quicker, a heart racing, and the wildflowers at the darkness's edge began to die. She watched them brown and curl in a spreading ring, frost racing up their stems, and the seam yawned wider still, tall enough now for shoulders, and from inside it came a smell she knew. Copper and earth and Eva's shampoo. The knocking stopped. "Rory," said the darkness, in Eva's voice, in Evan's voice, in her mother's voice, all at once. "You came alone." A hand pressed against the inside of the seam. Pale, familiar, five-fingered, with a small crescent-shaped scar on the left wrist. Her scar. On a hand that was not hers, because her hands were here, shaking, one holding a torch and one holding a phone that read 3:07 and was now ringing, the screen flashing EVA across the dark, and the hand in the seam curled its fingers, and the seam began to open like a mouth.
created_at"2026-09-23T18:00:04.383Z" 9/23/2026, 6:00:04 PM
model"aion-labs/aion-3.5-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency888
moderation_latency(null)
generation_time41422
tokens_prompt4387
tokens_completion2364
native_tokens_prompt4126
native_tokens_completion2177
native_tokens_completion_images(null)
native_tokens_reasoning662
native_tokens_cached4126
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)
usage0.0161565
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790186404-p2TYfPuQDbragSLx5N3t"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790186404-wCXWOgldr9YtYnKXGGzJ"
upstream_id"1c6b248d598d4d518fd5bc387077e6c0"
provider_responses
0
endpoint_id"09b1fc56-3888-42bd-b7a0-926851c7f9d6"
id"1c6b248d598d4d518fd5bc387077e6c0"
is_byokfalse
latency888
model_permaslug"aion-labs/aion-3.5-20260923"
provider_name"AionLabs"
status200
total_cost0.0161565
cache_discount0.0092835
upstream_inference_cost0
provider_name"AionLabs"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount2
adverbTags
0"Eva's note had also [also]"
1"Her hands shook anyway [anyway]"
dialogueSentences12
tagDensity0.333
leniency0.667
rawRatio0.5
effectiveRatio0.333
91.72% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1208
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"very"
count1
highlights
0"slightly"
1"very"
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)
46.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1208
totalAiIsms13
found
0
word"pulse"
count3
1
word"quickened"
count1
2
word"warmth"
count1
3
word"weight"
count1
4
word"lilt"
count1
5
word"charged"
count1
6
word"silence"
count1
7
word"pulsed"
count1
8
word"racing"
count2
9
word"familiar"
count1
highlights
0"pulse"
1"quickened"
2"warmth"
3"weight"
4"lilt"
5"charged"
6"silence"
7"pulsed"
8"racing"
9"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
narrationSentences110
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences110
filterMatches
0"notice"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences117
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen54
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords33
totalWords1208
ratio0.027
matches
0"Trick of the light. Roots shifting. Something under the soil."
1"At the grove. You were right about the stones."
2"Wear it. Go where it pulls you. Don't go alone."
3"don't trust the quiet"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount1146
uniqueNames11
maxNameDensity0.79
worstName"Eva"
maxWindowNameDensity2
worstWindowName"Eva"
discoveredNames
Rory7
London2
Richmond1
Park1
Carter1
Heartstone1
Eva9
Closer1
Evan4
Thud3
Tap6
persons
0"Rory"
1"Carter"
2"Heartstone"
3"Eva"
4"Evan"
places
0"London"
1"Richmond"
2"Park"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount1
matches
0"sounded like a nightingale, coming from tr"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1208
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences117
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs37
mean32.65
std31.68
cv0.97
sampleLengths
012
174
26
33
449
536
653
714
882
930
10119
117
123
137
1471
1512
1618
171
1844
1929
2062
214
223
233
2480
2541
2612
2741
289
291
3098
313
3281
333
3420
3521
3656
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences110
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs173
matches
0"was laughing"
1"was explaining"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences117
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount390
adjectiveStacks0
stackExamples(empty)
adverbCount13
adverbRatio0.03333333333333333
lyAdverbCount1
lyAdverbRatio0.002564102564102564
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences117
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences117
mean10.32
std10.57
cv1.024
sampleLengths
012
143
231
33
41
51
61
73
88
933
108
1112
126
1318
1412
154
1621
175
183
194
202
212
224
234
242
254
265
2718
2822
2929
305
313
324
3322
344
3526
368
373
382
3920
407
4124
427
431
4421
452
463
471
481
491
68.38% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.46153846153846156
totalSentences117
uniqueOpeners54
76.63% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences87
matches
0"Then the birds answered her."
1"Pale, familiar, five-fingered, with a"
ratio0.023
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences87
matches
0"She'd felt it at sundown,"
1"Her voice came out smaller"
2"She'd simply walked through it,"
3"Her torch beam swept across"
4"She lowered the beam."
5"She took out her phone."
6"You were right about the"
7"She'd gone alone anyway."
8"It was too clear, too"
9"She swept the torch across"
10"Her boots had stopped crunching"
11"She looked down."
12"She stepped back onto it"
13"Her voice bent the birdsong"
14"It had Eva's cadence, the"
15"It came from the trees"
16"Her hands shook anyway"
17"It had found Evan."
18"She'd been in the clearing"
19"Her phone screen agreed: 3:07"
ratio0.276
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount61
totalSentences87
matches
0"The pendant burned against Rory's"
1"She'd felt it at sundown,"
2"The pulse quickened."
3"Her voice came out smaller"
4"The park behind her had"
5"She'd simply walked through it,"
6"The Heartstone flared as she"
7"Warmth flooded her chest, then"
8"Wildflowers carpeted the ground, a"
9"Her torch beam swept across"
10"Rory stood still and counted."
11"The shiver came again."
12"She lowered the beam."
13"*Trick of the light."
14"Something under the soil.*"
15"She took out her phone."
16"You were right about the"
17"She'd gone alone anyway."
18"Eva's note had also said"
19"Nobody was laughing now."
ratio0.701
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences87
matches
0"Now the standing oaks rose"
1"Before the pendant arrived in"
ratio0.023
34.63% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences33
technicalSentenceCount5
matches
0"Now the standing oaks rose out of the dark ahead of her, ancient and pale, arranged in a ring like the teeth of something that had died with its mouth open."
1"The park behind her had gone quiet a mile back, the distant hiss of the A3 fading as if someone had turned a dial, and no gate had marked where the noise ended."
2"Full, bright, springtime birdsong, robins and blackbirds and something that sounded like a nightingale, coming from trees that stood bare and black and empty."
3"The tapping kept its rhythm regardless of where she pointed the beam, which meant she couldn't find its source, which meant it was moving, or she was."
4"Rory noticed it the way you notice a picture frame hanging crooked, a small domestic wrongness that took a moment to become enormous."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences12
tagDensity0.083
leniency0.167
rawRatio0
effectiveRatio0
90.5850%