Run: 2026-09-23-01M37PTXN83XAHA0ZHMFPBD3CR

Run Details

Duration:
2m 9s
Cost:
$0.025367
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 note had been in Eva's handwriting. That was the problem. Rory swept her phone's torch across the seventh standing stone and the oak-shaped monolith drank the light. No lichen. No weathering. Just dark grain frozen mid-flow, as if the wood had decided to become stone and never explained itself. *Richmond. The old stones in the deer park. Come after dark. Come alone. E.* She'd found the note under her door that morning, folded twice, the paper smelling faintly of honey. Eva never signed things E. Eva signed things with a smiley face that ate its own pen, because Eva couldn't manage solemnity for longer than four seconds. But Eva had also dragged Rory out of Cardiff with two bin bags and a wrist she refused to explain to A&E, so when Eva wrote *come alone*, Rory came alone. Alone didn't mean stupid. She'd told Silas where she was going. Torch, keys, fully charged phone, and the pendant. The pendant hung against her sternum now, pulsing like a second heartbeat, warm as a coin held too long in a fist. It had been doing that since she'd crossed the park boundary at Pen Ponds, warming by slow degrees the deeper into the dark she walked. Seven stones ringed the clearing, each one carved with the ghost of bark, the suggestion of branches. She ran her palm along the nearest and pulled it back. The stone was warm. Stone, at midnight, in November, holding heat like a radiator. "Okay," she said to the clearing. "Okay, noted." The air between the stones sat wrong. She felt it the way you feel a door left open in a familiar room, a pressure change with no source. When she stepped through the gap between the sixth and seventh stone, the pressure closed over her like water and her ears popped. Inside, the grove refused her torch. The beam reached perhaps three feet and gave up, dissolving into a dark that had texture, that had weight. She clicked the torch off and her night vision bloomed instead, and that was worse, because now she could see. Wildflowers carpeted the clearing. She knew about the flowers, Eva had brought her here once in daylight, a whole meadow blooming in November, an impossibility the grove wore like a party hat. In daylight they'd been white and violet and open to a sun that wasn't there. At night, every bud was closed. Every stem was bent. Every closed bud faced her. Not the sky. Not the gap between the stones where a moon might slip through. Her. A thousand pale teardrops on black stems, all pointed at the place where she stood, and when she took a slow step to the left, the nearest hundred flowers turned with a sound like silk sliding over silk. She stopped. They stopped. "Right." Her voice came out flat, stripped of echo. Open air should have carried it. Instead the words dropped dead at her feet, absorbed by flowers and dark and that honey smell that had followed her from the park gate, sweet and thick, with something underneath it now. Something like a butcher's bin at the end of a hot day. She checked her phone. 23:52. No signal, but the grove didn't strike her as a place with strong coverage, so she pocketed it and walked. The grass made no sound under her boots. Her steps made no sound. She could feel the ground, feel the give of it, the wet seeping through her left sole, and all of it in perfect silence, and then, four steps in, the sound arrived. Footsteps. Hers. Wet grass, a squelch in the left boot, arriving half a second after the step that produced them, like the grove was dubbing her. She stopped. The echo stopped, one beat late. "Eva?" The name fell dead too. No echo. No answer. Just the honey smell thickening, and somewhere off to her right, low down, a blackbird began to sing. A blackbird. Full night song, that bright liquid cascade they do at dawn in June, every note perfect and placed, and Rory stood in a frozen November clearing while it sang and sang and never repeated a phrase. Real birds repeat. Real birds get bored, get interrupted, get eaten. This one sang like a recording on loop, except it never repeated, which meant it wasn't a loop, which meant it was composing, and birds didn't compose at midnight in November, and her pulse was in her throat now, and the pendant against her sternum had gone from coin-warm to cup-of-tea warm. She walked faster. The clearing shouldn't have been this deep. Eva's daylight grove had been a pocket, a minute across, and she'd crossed it in forty seconds while Eva complained about her shoes. Rory had been walking for minutes now. The stones stayed behind her. The flowers tracked her. The blackbird followed at a fixed distance to her right, keeping pace, and beneath its song she caught the echo-footsteps again, except this time they continued after hers stopped. One extra step. Squelch. Then silence. She turned in a slow circle, torch up, and the beam found nothing in three feet and flowers beyond it and the blackbird still singing and the honey smell now so thick she could taste it, flowery and spoiled at once, coating her tongue. Her phone buzzed against her hip. She snatched it out. 03:07. She'd entered the grove at 23:50. She'd walked for minutes. The screen dimmed. The clock read 03:07, then 03:12, then, as she watched, 02:31. The numbers ran backwards, unhurried, the way water drains, and the battery icon slid from half to red to a sliver while the phone sat cold and unplugged in her hand. "Nope." She said it out loud, flat and dead in the air. "Nope, absolutely not." She turned back the way she'd come. The stones were gone. Not moved. Gone. The ring of them, the gap between the sixth and seventh where she'd stepped through, replaced by more clearing, more flowers, more of that patient dark, and the flowers between her and where the exit had been were open now. All of them. A thousand white faces unfurled in a night with no moon, and every one of them turned on its stem as she looked, a soft creaking like knuckles cracking, all of them orienting, all of them watching, and the pendant flared. Not warm. Hot. Heat flooding through her shirt, the silver chain biting her neck, the crimson stone pressing a scalding coin of light against her chest, and through the fabric she could see it glowing, a red heartbeat visible through cotton, faster now, faster, and the blackbird stopped mid-phrase. The silence that followed had teeth. "Eva?" Her voice cracked on it. "Eva, if this is you, it's not funny, and if it's not you, I'm sorry, and either way I'm leaving." The grove answered in Eva's voice. "Rory." From everywhere. From the flowers. From the dark past the torch's three feet of reach, Eva's voice, her exact voice, the South London drag on the vowel, the little laugh underneath the word, and Rory's legs went heavy as wet sand because it was perfect, it was her, and perfect was the problem. The grove had swallowed every sound she'd made since the stones. It had her footsteps. It had her voice. It had been listening to Eva too. The pendant burned. Rory's eyes watered from the heat and she looked down at it for one second, one, and when she looked up, a figure stood fifteen feet away. Green parka. Eva's parka, the one with the torn left pocket Eva refused to mend, and the figure stood among the flowers and none of them bent, none of them moved, and it was already facing her. It hadn't arrived. It hadn't walked in. It was as if the clearing had simply decided this was where it went, and it stood with Eva's posture, Eva's height, Eva's dark hair loose past her shoulders, and it did not breathe. Rory watched the chest. Nothing. The honey smell rolled off it in waves. "Rory," it said, in Eva's voice, and the flowers turned from her to it, a thousand pale faces transferring their attention like a crowd at a tennis match. "You came alone." The head tilted. Too far. The hair slid off the face and the face was Eva's, Eva's freckles, Eva's chapped lower lip, Eva's eyes, except the eyes were already looking at her before the hair finished moving, already had been, and they held no white. Just dark, all the way in. "You came alone," it said again, and the voice slid in the middle of the sentence, the vowels melting from Eva's South London into something older, something that dragged its consonants, and then into a voice Rory knew the way she knew her own scar. Evan's voice. Evan's warm, patient, reasonable voice, the one he used right before the apology, every time, for three years. "Good girl."
created_at"2026-09-23T18:00:52.683Z" 9/23/2026, 6:00:52 PM
model"aion-labs/aion-3.5-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1431
moderation_latency(null)
generation_time129211
tokens_prompt4387
tokens_completion4017
native_tokens_prompt4126
native_tokens_completion3712
native_tokens_completion_images(null)
native_tokens_reasoning1883
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)
usage0.0253665
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790186452-WqSHCWja15Xqhkm3M99b"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790186452-1oVXLcvP7O5Mlzn2pkdx"
upstream_id"36fd370b74bf467e858c8645f3001c64"
provider_responses
0
endpoint_id"09b1fc56-3888-42bd-b7a0-926851c7f9d6"
id"36fd370b74bf467e858c8645f3001c64"
is_byokfalse
latency1405
model_permaslug"aion-labs/aion-3.5-20260923"
provider_name"AionLabs"
status200
total_cost0.0253665
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
57.14% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount1
adverbTags
0"it said again [again]"
dialogueSentences13
tagDensity0.538
leniency1
rawRatio0.143
effectiveRatio0.143
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1508
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
27.06% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1508
totalAiIsms22
found
0
word"charged"
count1
1
word"familiar"
count1
2
word"weight"
count1
3
word"silk"
count2
4
word"echo"
count4
5
word"could feel"
count1
6
word"perfect"
count4
7
word"silence"
count3
8
word"footsteps"
count3
9
word"pulse"
count1
10
word"absolutely"
count1
highlights
0"charged"
1"familiar"
2"weight"
3"silk"
4"echo"
5"could feel"
6"perfect"
7"silence"
8"footsteps"
9"pulse"
10"absolutely"
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
narrationSentences125
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences125
filterMatches
0"feel"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences131
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords16
totalWords1508
ratio0.011
matches
0"Richmond. The old stones in the deer park. Come after dark. Come alone. E."
1"come alone"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions48
wordCount1468
uniqueNames12
maxNameDensity1.57
worstName"Eva"
maxWindowNameDensity5.5
worstWindowName"Eva"
discoveredNames
Eva23
Rory9
Cardiff1
Silas1
Pen1
Ponds1
November4
Open1
June1
South2
London2
Evan2
persons
0"Eva"
1"Rory"
2"Silas"
3"Ponds"
4"Evan"
places
0"Cardiff"
1"Pen"
2"November"
3"June"
4"South"
5"London"
globalScore0.717
windowScore0
74.24% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount2
matches
0"Something like a butcher's bin at the end of"
1"It was as if the clearing had simply decided this was where it went, and it stood with Eva's posture, Eva's height, Eva's dark hair loose past her shoulders, and it did not breathe"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1508
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences131
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean34.27
std27.03
cv0.789
sampleLengths
011
139
214
375
419
547
642
78
851
945
1047
1110
125
1354
144
1560
1625
1771
188
1928
20101
2178
226
2344
2411
2510
2645
2715
2811
2987
3049
316
3226
336
341
3572
367
3730
3891
3931
4051
4145
4220
432
96.84% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences125
matches
0"get interrupted"
1"get eaten"
2"were gone"
3"been were"
59.35% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs237
matches
0"was going"
1"was dubbing"
2"was composing"
3"was already facing"
4"were already looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences131
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1475
adjectiveStacks0
stackExamples(empty)
adverbCount42
adverbRatio0.02847457627118644
lyAdverbCount3
lyAdverbRatio0.002033898305084746
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences131
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences131
mean11.51
std12.59
cv1.094
sampleLengths
07
14
217
32
42
518
61
77
83
92
101
1117
125
1322
1431
154
167
178
1822
1925
2017
2111
224
2310
246
252
267
2721
2823
296
3019
3120
324
3328
3415
356
364
375
383
3912
401
4138
422
432
449
456
4633
4712
484
491
49.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.40310077519379844
totalSentences129
uniqueOpeners52
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences98
matches
0"Just dark grain frozen mid-flow,"
1"Instead the words dropped dead"
2"Just the honey smell thickening,"
3"Just dark, all the way"
ratio0.041
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences98
matches
0"She'd found the note under"
1"She'd told Silas where she"
2"It had been doing that"
3"She ran her palm along"
4"she said to the clearing"
5"She felt it the way"
6"She clicked the torch off"
7"She knew about the flowers,"
8"Her voice came out flat,"
9"She checked her phone."
10"Her steps made no sound."
11"She could feel the ground,"
12"She walked faster."
13"She turned in a slow"
14"Her phone buzzed against her"
15"She snatched it out."
16"She'd entered the grove at"
17"She'd walked for minutes."
18"She said it out loud,"
19"She turned back the way"
ratio0.296
87.55% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences98
matches
0"The note had been in"
1"That was the problem."
2"Rory swept her phone's torch"
3"The old stones in the"
4"She'd found the note under"
5"Eva never signed things E."
6"Eva signed things with a"
7"She'd told Silas where she"
8"Torch, keys, fully charged phone,"
9"The pendant hung against her"
10"It had been doing that"
11"She ran her palm along"
12"The stone was warm."
13"Stone, at midnight, in November,"
14"she said to the clearing"
15"The air between the stones"
16"She felt it the way"
17"The beam reached perhaps three"
18"She clicked the torch off"
19"Wildflowers carpeted the clearing."
ratio0.745
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences98
matches(empty)
ratio0
73.17% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount4
matches
0"Just dark grain frozen mid-flow, as if the wood had decided to become stone and never explained itself."
1"Instead the words dropped dead at her feet, absorbed by flowers and dark and that honey smell that had followed her from the park gate, sweet and thick, with so…"
2"Wet grass, a squelch in the left boot, arriving half a second after the step that produced them, like the grove was dubbing her."
3"This one sang like a recording on loop, except it never repeated, which meant it wasn't a loop, which meant it was composing, and birds didn't compose at midnig…"
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount1
matches
0"it said again, and the voice slid in the middle of the sentence, the vowels melting from Eva's South London into something older, something that dragged its consonants, and then into a voice Rory knew the way she knew her own scar"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences13
tagDensity0.308
leniency0.615
rawRatio0
effectiveRatio0
82.6094%