Run: 2026-09-23-01M37Q6AV2R2JH8QH5CJNK91GN

Run Details

Duration:
1m 24s
Cost:
$0.017399
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 delivery app said the customer was waiting at the park gates. The park gates said otherwise: a padlocked chain, a sign that read CLOSED AT DUSK, and nobody for half a mile in any direction. Rory balanced the thermal bag on her hip and checked the order details again. One order of golden dumplings. Address: Richmond Park, Pen Ponds, "by the old oaks." Notes field: *she will come.* Paid in advance, with a tip that covered her rent. *She will come.* Not *they*, not a name. She'd told herself it was a typo. She'd told herself that all the way across the river, and she was still telling herself now, standing at the gate with the bag's warmth bleeding away into the November air. The pendant against her sternum was warm. That was the thing she hadn't told herself, because there was no sensible version of it. The Heartstone had sat cold on its silver chain for three months, a curiosity from an anonymous sender, and tonight it had started to pulse. Faint, like a second heartbeat a half-beat behind her own. It had started the moment she accepted the order. "Nope," she said to the empty gate. "Absolutely not." She climbed over. The chain was easier to clear than it looked. Her trainer found the second rail, her hand found the top bar, and then she was on the far side, in the dark, and the gate's creak behind her sounded wrong, stretched, like a recording played at half speed. Richmond Park at night was not silent. She knew that. Deer moved through it, foxes screamed in it, planes dragged their lights across the sky above it. But the path toward Pen Ponds had gone quiet in a way that pressed on her ears. No traffic hum from the A308. No distant sirens. London didn't switch off, and yet somewhere between the gate and the first bend in the path, it had. The pendant pulsed. *Left,* it seemed to say. *Left and down.* "You're a rock," she muttered. "Rocks don't give directions." Her feet took the left fork anyway. The thermal bag bumped her thigh with each step, a soft rhythmic thud that was hers, that was normal, and she clung to it. The trees thickened. Oak and beech, black against black, their branches interlacing overhead until the sky shrank to a ribbon of grey. Her phone's torch carved a cone out of the dark, and the dark closed in behind it like water. The dumplings had gone cold. She noticed because she reached back to check the bag's seal, out of habit, and the vinyl was room temperature. She'd cleared the gate eight minutes ago. Ten, maybe. The food had been fresh out of the wok when Yu-Fei handed it over. Her watch said 11:04. Her phone said 00:47. "Huh." She stopped walking. The torch beam steadied on a tangle of roots ahead, and she gave both screens a long look, because a wrong watch was a battery, and a wrong phone was a glitch, and both at once was neither. The pendant pulsed harder. When she looked up, the oaks had changed. Not the trees, the oaks, specifically. The path had bent toward a stand of them, ancient and vast, their trunks pale as bone in the torchlight. They stood in a rough ring, and the ground inside the ring was bright. Wildflowers. A whole clearing of them, white and violet, nodding gently in a wind she couldn't feel. In November. In the dark. Every rule she had, and she had a lot of them, she was a list-maker from way back, said to turn around. She turned around. The path was gone. Behind her stretched more clearing, more flowers, and the oaks of the ring stood at her back now as well as ahead, as if she'd walked into their centre without taking a step. She swung the torch in a slow circle. Bone-white trunks, flowers, dark beyond the flowers. Bone-white trunks, flowers, dark. The ring had her in its middle, and she had no memory of arriving there. "Okay." She kept her voice level, because her father had taught her that a level voice keeps a level head, and because some stubborn animal part of her insisted that whatever was listening would enjoy a scream. "Okay. Think." The air smelled of honey and rot. Not one then the other, both at once, layered, like flowers laid on something that had been dead a long while. She'd noticed it at the gate, she realised. Faint, then. A rumour of a smell. Now it was a headline. Something moved at the edge of the torchlight. Not an animal. Animals crossed, flickered, fled. This slid, keeping its distance exactly at the rim of the beam, a pale suggestion of height that stayed low like something that had learned that standing tall gets you seen. She whipped the torch toward it. Flowers. Only flowers, shivering in that windless air. She turned the torch back. The shadow was behind her now, at the new edge of the beam, patient. "Delivery for..." She read the name off the app, and her mouth went dry around it. "Delivery for Laila." The flowers stopped nodding. All of them, at once, across the whole clearing, a held breath in a field of white and violet. Nobody called her Laila. Nobody knew the name; it was an old thing, a childhood thing, a name from her mother's stories that she'd never written down, never spoken aloud since she was seven. The app shouldn't have it. The customer shouldn't have it. The pendant flared. Heat bloomed against her sternum, sharp enough to make her gasp, and the gemstone's crimson glow leaked out from under her jacket collar like a wound. In its light she saw the crescent scar on her left wrist, the one from the fall she'd taken when she was nine, and it was glowing too, faintly, the old silvered skin lit from beneath. *She will come.* The shadow at the edge of the torch stood up. It had been crouching all this time, she understood then, out of courtesy or out of habit, and its full height kept going past what the trees should have allowed. It didn't step forward. The clearing folded toward it instead, flowers and dark sliding past her like a train platform past a window, and then it was near, at the edge of arm's reach, and the honey-and-rot smell was thick enough to chew. "You wore the stone to the door." The voice came from everywhere the shadow wasn't, gentle, female, amused. "Sensible girl. It saved us both so much shouting." Rory's hand found the mace in her jacket pocket, the flat canister she'd carried every night since Evan, and her thumb settled on the trigger, and the shadow laughed, low and delighted, a sound like ivy growing over a window. "Oh, bring it. Bring all of it. The little fire in the can, the clever legs, the lists you make when you're frightened." It leaned closer. Where a face should be there was the suggestion of one, drawn in absence. "But first, Laila. Before you decide what you are in this story." The pendant burned white-hot. The oaks groaned, all twelve of them, roots shifting somewhere beneath the flowers like a sleeper rolling over. "Tell me what you did with the man who sent it."
created_at"2026-09-23T18:07:06.639Z" 9/23/2026, 6:07:06 PM
model"aion-labs/aion-3.5-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1635
moderation_latency(null)
generation_time83661
tokens_prompt4387
tokens_completion2619
native_tokens_prompt4126
native_tokens_completion2384
native_tokens_completion_images(null)
native_tokens_reasoning886
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)
usage0.0173985
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
http_referer(null)
request_id"req-1790186826-RPsBoHCRUIgjhF43LjY3"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790186826-DpfnW9QqPxQOK6jXf1Tm"
upstream_id"141bda984586461b8c64060593c06984"
provider_responses
0
endpoint_id"09b1fc56-3888-42bd-b7a0-926851c7f9d6"
id"141bda984586461b8c64060593c06984"
is_byokfalse
latency1635
model_permaslug"aion-labs/aion-3.5-20260923"
provider_name"AionLabs"
status200
total_cost0.0173985
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
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences15
tagDensity0.467
leniency0.933
rawRatio0
effectiveRatio0
95.96% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1239
totalAiIsmAdverbs1
found
0
adverb"gently"
count1
highlights
0"gently"
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)
71.75% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1239
totalAiIsms7
found
0
word"warmth"
count1
1
word"pulse"
count1
2
word"absolutely"
count1
3
word"pulsed"
count2
4
word"rhythmic"
count1
5
word"flickered"
count1
highlights
0"warmth"
1"pulse"
2"absolutely"
3"pulsed"
4"rhythmic"
5"flickered"
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
narrationSentences96
matches(empty)
98.21% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences96
filterMatches
0"watch"
hedgeMatches
0"started to"
1"seemed to"
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
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans6
markdownWords14
totalWords1239
ratio0.011
matches
0"she will come."
1"She will come."
2"they"
3"Left,"
4"Left and down."
5"She will come."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions18
wordCount1154
uniqueNames12
maxNameDensity0.17
worstName"Richmond"
maxWindowNameDensity1
worstWindowName"Richmond"
discoveredNames
Richmond2
Park2
Pen2
Ponds2
Notes1
Paid1
November2
Heartstone1
Yu-Fei1
Laila1
Rory2
Evan1
persons
0"Ponds"
1"Heartstone"
2"Yu-Fei"
3"Laila"
4"Rory"
5"Evan"
places
0"Richmond"
1"Park"
2"Pen"
3"Notes"
4"November"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences59
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1239
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences104
matches
0"insisted that whatever"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs39
mean31.77
std22.96
cv0.723
sampleLengths
050
129
246
367
49
53
648
772
83
98
109
1172
1248
138
141
1541
164
1748
1822
1925
204
2167
2239
2348
248
2552
2619
2719
2823
2944
3065
313
3210
3373
3427
3540
3652
3722
3811
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences96
matches
0"was gone"
93.62% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs188
matches
0"was waiting"
1"was still telling"
2"was glowing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences104
ratio0.01
matches
0"Nobody knew the name; it was an old thing, a childhood thing, a name from her mother's stories that she'd never written down, never spoken aloud since she was seven."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1162
adjectiveStacks1
stackExamples
0"black against black, their"
adverbCount36
adverbRatio0.03098106712564544
lyAdverbCount5
lyAdverbRatio0.004302925989672977
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
mean11.91
std10.35
cv0.869
sampleLengths
012
124
214
35
424
58
67
731
87
916
1025
1110
129
137
142
153
169
1739
187
193
2017
2117
226
233
2419
253
265
273
285
294
307
3124
323
3319
3419
355
3620
377
382
3914
404
414
421
433
4438
454
468
476
4820
4914
56.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.4423076923076923
totalSentences104
uniqueOpeners46
37.04% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences90
matches
0"Only flowers, shivering in that"
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences90
matches
0"*She will come.* Not *they*,"
1"She'd told herself it was"
2"She'd told herself that all"
3"It had started the moment"
4"she said to the empty"
5"She climbed over."
6"Her trainer found the second"
7"She knew that."
8"Her feet took the left"
9"Her phone's torch carved a"
10"She noticed because she reached"
11"She'd cleared the gate eight"
12"Her watch said 11:04."
13"Her phone said 00:47."
14"She stopped walking."
15"They stood in a rough"
16"She turned around."
17"She swung the torch in"
18"She kept her voice level,"
19"She'd noticed it at the"
ratio0.3
76.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount69
totalSentences90
matches
0"The delivery app said the"
1"The park gates said otherwise:"
2"Rory balanced the thermal bag"
3"*She will come.* Not *they*,"
4"She'd told herself it was"
5"She'd told herself that all"
6"The pendant against her sternum"
7"That was the thing she"
8"The Heartstone had sat cold"
9"It had started the moment"
10"she said to the empty"
11"She climbed over."
12"The chain was easier to"
13"Her trainer found the second"
14"Richmond Park at night was"
15"She knew that."
16"Deer moved through it, foxes"
17"London didn't switch off, and"
18"The pendant pulsed."
19"Her feet took the left"
ratio0.767
55.56% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences90
matches
0"Now it was a headline."
ratio0.011
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount3
matches
0"She'd told herself that all the way across the river, and she was still telling herself now, standing at the gate with the bag's warmth bleeding away into the N…"
1"Behind her stretched more clearing, more flowers, and the oaks of the ring stood at her back now as well as ahead, as if she'd walked into their centre without …"
2"This slid, keeping its distance exactly at the rim of the beam, a pale suggestion of height that stayed low like something that had learned that standing tall g…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
16.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount2
fancyTags
0"Address: Richmond Park (address:)"
1"she muttered (mutter)"
dialogueSentences15
tagDensity0.2
leniency0.4
rawRatio0.667
effectiveRatio0.267
89.3072%