Run: 2026-09-24-01M39WS7EK22BFP05P0CY9EHCJ

Run Details

Duration:
3m 24s
Cost:
$0.016643
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
"Cheung, the address is a tree." "Then deliver to the tree." I wedged the phone between ear and shoulder and pushed through a screen of bracken. Behind me, the Penrhos Gate stood open. Unlocked. Waiting. Richmond Park shut its gates at nine and somebody had left one open just wide enough for a girl with a delivery bag and a bike chained to the rail outside. "Read it to me again." Yu-Fei sighed the sigh of a man doing arithmetic. "'The old oaks, past the deer pen, follow the deer path, knock thrice.' Written order. Hand delivered, Monday, paid ahead. Cash. Sixty pound tip." "For pad thai." "For you, apparently. The envelope had your name on it." He said it the way he announced a bad fish delivery. Flat. Letting the fact do the work. "Miss A. Carter. Old hand, green ink, slanted like a schoolteacher's." I stopped walking. "Any chance it's a mate having a laugh?" "At this hour? Take the sixty pounds, Carter. Feed the tree. Go home." The line died. Yu-Fei Cheung had run the Golden Empress for thirty years and ended calls the way other men slammed doors. I kept walking. The deer pen came up on my left, and it was empty. Every gate on it stood open too, swinging in no wind at all, and I filed that away with the unlocked park gate and the envelope with my name on it and told myself the pile wasn't growing. The pendant woke at the third oak. It hung at my throat on a silver chain, a chip of crimson no bigger than a thumbnail, and in the eight months since it had turned up in my jacket pocket, no note, no sender, it had done exactly one thing. It warmed. A coin held in a closed fist, that kind of warm, with a pulse under it and a faint red glow that showed through my shirt if the light was right. I'd learned what the warmth meant. Doors. The sort that shouldn't exist. I stood on the deer path and weighed sixty pounds cash against the heat spreading through the stone. "Delivery," I said to the dark. "Somebody order a green curry?" Nothing answered. No wind, no traffic, none of the hum that lives under every silence in this city. Even the insects had clocked off. The grove announced itself by smell first. Honey and old paper, sweetness with a spine to it, and under that, thin as a hair, copper. I came round a wall of hawthorn and there they were. Nine standing stones in a ring, ancient oaks grown into them over centuries until bark and rock shared one grey skin, and inside the ring, in November, poppies and cornflowers stood wide open. Frost silvered the grass a foot from the boundary and stopped dead at the stones, the way water stops at a weir. I checked my phone out of habit. 11:47. I checked again ten steps later. 11:47. The battery had dropped from sixty per cent to twelve without the torch ever being on. Crossing the ring felt like wading through a curtain of warm water. The copper smell strengthened. My boot found grass and made no sound. The next step, none. I might as well have been walking on wool, and the grove ate my voice the same way when I tried a cheerful "hello" that died at my feet. An hour in a place like this could cost you a day outside. A week. A season. I'd heard the stories over the bar below my flat and filed them under drunk talk, and Silas didn't strike me as a man who wasted drunk talk on strangers he liked. I stopped. Listened. Counted my own heartbeats, four, five, six, and on the sixth came a footfall. Behind me. Half a beat late, the way an echo is late, except echoes wait for you to stop first. I turned. The deer path lay empty all the way back to the hawthorn. Movement, off left, at the far limit of the torch. I swung the beam. Tree. Tree. Tree. When I swept it back the other way, something at the right edge of the light leaned out of the dark and back in, the way a fish moves at the corner of an aquarium. Pale. Tall. Patient. The poppies nearest me had turned their faces up. All of them. Flowers don't track without a sun to track, but every open bloom in the ring pointed at me like a compass needle finding north. "Rory." My mother's voice. Cardiff in it, the lift she put on the first syllable, the one she'd used when I was small and it was time to come in. My mother lived in Cardiff. My mother did not know I was in Richmond. Then a laugh, low and pleased. Eva's laugh. My chest loosened before my brain caught up and pointed out that Eva was in Walthamstow, that I'd left her a text an hour ago saying weird order, weird park, and that she could not have beaten me here by foot, by cab, or by miracle. Then, close. Right-ear close. Breath that was not mine on my neck. "Rory." Evan. The thermal bag came off my shoulder faster than thought and I swung it round and hit nothing, air and flowers, and the follow-through carried me a full turn. Where my breath should have ended, it didn't. A ghost of cloud hung at the height of my mouth. My own breath, hanging. Then it drifted sideways, off between the oaks, the way breath drifts when somebody keeps walking and you don't. I pressed my thumb against the crescent scar on my wrist. Old habit, for when the numbers stop adding up. Cool head. Three rules. Take the photo, leave the food, knock on nothing. I set the bag on the flat top of the southernmost stone and unzipped it. Containers, chopsticks, two fortune cookies. I raised the phone and took the proof-of-delivery shot, flash and all, and the flash showed me the ring full of people. Dozens. Standing between the oaks and the stones and among the flowerbeds, shoulder to shoulder, still as furniture, every face turned to the camera. To me. Grey skin, old clothes, clothes from a great many different yesterdays. The second flash showed the ring empty. I lowered the phone. The screen still held the first picture. I looked at it longer than I wanted to, and I made myself look, because a thing you can see twice stops being imagination and starts being evidence. Then I turned back to the bag. It stood open. I hadn't left it open. The containers sat on the grass in a neat square, lids off, steam rising into no wind, and the two fortune cookies lay side by side on a flat stone like a place set for company. On top of one sat a card. Cream. Green ink. The same schoolteacher's hand. Aurora. Sit while it's hot. I. I knew one person whose name began with that letter, and I knew her from Silas, who said it the way people say cancer. Never mind Isolde, he'd told a punter one night, never mind her grove, and I'd been eavesdropping over a crate of limes and hadn't asked, because asking Silas questions was how you got answers, and his answers kept rent cheap and sleep expensive. The pendant went from warm to hot. I clapped a hand over it and the stone pulsed against my palm like a second heart, once, twice, and the glow bled red between my fingers. Time to go. The gap I'd come through stood between two stones ten paces off, and it looked narrower than I'd left it, the oaks leaning together over it like men sharing a secret. I ran. Three knocks stopped me at the fifth pace. Not from behind. From ahead, from inside the largest stone, wood-deep and patient, the sound of knuckles on a door that had all night. Rap. Rap. Rap. The third knock landed soft, almost kind, the knock of somebody who knows you're home. Something stood in the gap. It had been there the whole time. I understood that with my stomach and not my head, the way you understand a drop before you look down. It had been standing in the gap since before I arrived, waiting its turn, and it was tall and pale and its face was a shadow with patience in it, and it did not move aside, and the pendant burned like a coal against my sternum, and the poppies all around us turned their faces toward the sound of its voice. "Dinner's getting cold, cariad."
created_at"2026-09-24T14:23:17.48Z" 9/24/2026, 2:23:17 PM
model"aion-labs/aion-3.5-mini-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1536
moderation_latency(null)
generation_time204262
tokens_prompt4387
tokens_completion10344
native_tokens_prompt4126
native_tokens_completion9825
native_tokens_completion_images(null)
native_tokens_reasoning8374
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.0166432
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790259797-sY0YE0VkdetaNpORv4WE"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790259797-7kNp6OdJfx7ta5lyBNRm"
upstream_id"ec064f8041aa4728922eb39dcaaac0a3"
provider_responses
0
endpoint_id"60ac3bdc-90ec-4769-9193-2c00b4d79562"
id"ec064f8041aa4728922eb39dcaaac0a3"
is_byokfalse
latency1536
model_permaslug"aion-labs/aion-3.5-mini-20260923"
provider_name"AionLabs"
status200
total_cost0.0166432
cache_discount(null)
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences15
tagDensity0.2
leniency0.4
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1458
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)
72.57% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1458
totalAiIsms8
found
0
word"pulse"
count1
1
word"warmth"
count1
2
word"silence"
count1
3
word"footfall"
count1
4
word"echo"
count1
5
word"echoes"
count1
6
word"pulsed"
count1
7
word"stomach"
count1
highlights
0"pulse"
1"warmth"
2"silence"
3"footfall"
4"echo"
5"echoes"
6"pulsed"
7"stomach"
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
narrationSentences126
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences126
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen61
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1458
ratio0
matches(empty)
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
totalMentions25
wordCount1360
uniqueNames16
maxNameDensity0.22
worstName"Silas"
maxWindowNameDensity1.5
worstWindowName"Tree"
discoveredNames
Penrhos1
Gate1
Park1
Flat1
Cheung1
Golden1
Empress1
November1
Silas3
Cardiff2
Richmond2
Eva2
Walthamstow1
Isolde1
Tree3
Rap3
persons
0"Gate"
1"Cheung"
2"Silas"
3"Eva"
places
0"Park"
1"November"
2"Cardiff"
3"Richmond"
4"Walthamstow"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount1
matches
0"felt like wading through a curtain of w"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1458
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences138
matches
0"out that Eva"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs48
mean30.38
std25.89
cv0.852
sampleLengths
06
15
255
35
433
53
639
73
88
913
1022
1153
127
1387
1418
1511
1624
1791
1831
1957
2049
2137
2214
2355
2436
251
2643
2754
2812
291
301
3171
3220
3313
3442
3537
367
3746
3858
396
4067
417
4261
432
4450
455
4688
474
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences126
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs208
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences138
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1367
adjectiveStacks1
stackExamples
0"great many different yesterdays."
adverbCount23
adverbRatio0.016825164594001463
lyAdverbCount1
lyAdverbRatio0.000731528895391368
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean10.57
std11.39
cv1.078
sampleLengths
06
15
215
37
41
51
631
75
89
924
103
1121
121
136
1411
153
168
1713
183
1919
203
2112
2238
237
2442
252
2631
276
281
295
3018
316
325
332
3416
356
367
3718
3811
3933
4022
417
421
436
441
4516
4612
474
488
494
77.70% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.5147058823529411
totalSentences136
uniqueOpeners70
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences90
matches
0"Even the insects had clocked"
1"Then a laugh, low and"
2"Then it drifted sideways, off"
3"Then I turned back to"
ratio0.044
77.78% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences90
matches
0"I wedged the phone between"
1"He said it the way"
2"I stopped walking."
3"I kept walking."
4"It hung at my throat"
5"I'd learned what the warmth"
6"I stood on the deer"
7"I said to the dark"
8"I came round a wall"
9"I checked my phone out"
10"I checked again ten steps"
11"My boot found grass and"
12"I might as well have"
13"I'd heard the stories over"
14"I swung the beam."
15"My mother's voice."
16"My mother lived in Cardiff."
17"My mother did not know"
18"My chest loosened before my"
19"My own breath, hanging."
ratio0.356
98.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount65
totalSentences90
matches
0"I wedged the phone between"
1"Richmond Park shut its gates"
2"Yu-Fei sighed the sigh of"
3"He said it the way"
4"I stopped walking."
5"The line died."
6"Yu-Fei Cheung had run the"
7"I kept walking."
8"The deer pen came up"
9"Every gate on it stood"
10"The pendant woke at the"
11"It hung at my throat"
12"A coin held in a"
13"I'd learned what the warmth"
14"The sort that shouldn't exist."
15"I stood on the deer"
16"I said to the dark"
17"The grove announced itself by"
18"Honey and old paper, sweetness"
19"I came round a wall"
ratio0.722
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences90
matches(empty)
ratio0
77.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount4
matches
0"A coin held in a closed fist, that kind of warm, with a pulse under it and a faint red glow that showed through my shirt if the light was right."
1"I'd heard the stories over the bar below my flat and filed them under drunk talk, and Silas didn't strike me as a man who wasted drunk talk on strangers he like…"
2"I knew one person whose name began with that letter, and I knew her from Silas, who said it the way people say cancer."
3"From ahead, from inside the largest stone, wood-deep and patient, the sound of knuckles on a door that had all night."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount1
matches
0"I might, and the grove ate my voice the same way when I tried a cheerful"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences15
tagDensity0.133
leniency0.267
rawRatio0
effectiveRatio0
89.9617%