Run: 2026-09-24-01M39WWE3HCVZK0ME9K82N3RNF

Run Details

Duration:
3m 59s
Cost:
$0.018402
Provider:
AionLabs

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant burned through her jacket like a coal pressed to her sternum, and Rory still had half of Richmond Park to cross. Three days it had been warm. Three days of low, patient heat under her jumper while she stacked noodle boxes at the Golden Empress, while she sat through Eva's rant about the rent, while she lay in the dark above Silas' bar and listened to last orders rumble through the floorboards. Tonight the warmth had climbed into a burn. It dragged her out of bed at half past one, down the stairs past the bar's locked door, across the sleeping city on a moped with a dying headlight. She'd left a lie on the kitchen table for Eva. Big order, out to the suburbs, back late. She'd expected to climb the railings at Robin Hood Gate. The gate stood open an inch, swinging on its hinge, and that bothered her more than a padlock would have. Inside, the park was wrong in a way it took a hundred yards to name. There was no hum. The A3 ran along this boundary and the A3 never slept, but tonight its noise had been peeled off the world, and the silence underneath had weight, a pressure against the ears. No deer either. Richmond without deer was a stage between performances. She walked with one hand flat against her chest, following the heat the way a sailor follows a compass needle, off the gravel and into the bracken, past oaks whose black trunks glistened as though the bark sweated. The smell was leaf mould and, beneath it, something sweeter. Overripe pears. A fruit bowl forgotten in a warm room. A quarter of an hour in, she heard the spoon. Thin and bright, china on china. The small circling sound of a teaspoon stirring a teacup, somewhere ahead and to the left, in the black between the oaks. She stopped. The spoon stopped. She took a step. It resumed, unhurried, keeping pace with her, and the unhurried part was what turned her hands cold. Whatever stirred that cup had all the time it wanted. The standing stones rose out of the bracken like things grown rather than raised, ancient oak, taller than she remembered, wet bark drinking the light from her phone's torch. She had stood inside this circle once before, in daylight, with people, and daylight had made it a curiosity. Daylight was not on offer. At the gap between two stones the pendant changed gear. The heat organised itself into rhythm. Pulse, pulse, rest. Pulse, pulse, rest. The small crescent scar on her left wrist ached in time with it, a childhood wound keeping beat with something older than childhood. She knew that rhythm. Six weeks of ownership had taught her one thing about the pendant, and it was this: it warmed near doors. Fae doors made it hum, a flat steady note she'd felt outside a certain alley in Soho. This was not that. This was the other kind. The hot kind. The kind that had opened under the Thames at Embankment for four seconds one Tuesday, before the tunnel that was not a tunnel closed its throat. A door, here, in Isolde's grove, where the hot kind had no right to be. Her reason for coming rearranged itself. She had come for answers. Someone had sent her the pendant six weeks ago, no note, no name, and she had wanted to know who and why. Now the pendant had carried her somewhere a door was opening, and the question was no longer who gave her the stone. Rules for strange doors, learned the hard way: don't touch the frame. Don't answer anything that calls your name. Never let one close behind you without knowing why. "Right," she said, to nobody, to the dark. "You wanted me here. I'm here." The dark didn't answer. It didn't feel like listening either. It felt like waiting. She stepped through the stones. London didn't fade. It stopped, mid-note. One stride: bracken, mud, the absent hum of the A3. Next stride: grass, dew soaking through her trainers, air thick and green and tasting of growth, wrong for the small hours. Wildflowers ran to every corner the clearing owned, and they were open, every one, every colour a flower could be, and each held its own faint lamp, a glow with no source, the same inner light as the stone at her throat. Her phone read 02:14. Full battery. She noted it the way you note the last exit before a long bridge. The flowers turned as she passed. Not in any wind. There was no wind on her face. Each head swung after her, slow, the way an audience follows a speaker across a stage. She kept her eyes forward. Looking at them directly squeezed her chest in a manner she chose not to examine. Something pale moved between the two furthest oaks. She turned her head and it became birch trunks, three of them, silver and innocent, standing exactly where birch trunks should not stand, because she had counted the trees on her way in and there had been no birch. She faced forward. The pale thing moved again, further to the left now, and closer. She walked. The grove was not large. She had crossed it once in perhaps two hundred steps. She walked four times that, and the far stones stayed fixed in her vision, patient, and her phone still read 02:14. She stopped and watched the screen. The numbers sat there, 02:14, and then they slid, like rain down glass, and the screen went black, and the torch button ignored her thumb. Her breath fogged. The air had grown teeth. And half a beat behind her own breath, close at her right shoulder, a second plume of mist bloomed in the dark, where nothing stood. She turned her head. The second plume thinned, unhurried, and was gone. "Isolde." Her voice came out flat and small. She planted her feet. Louder. "Isolde. I know whose grove this is. I know you can hear me." Nothing moved. The flowers held their little lamps and pointed their heads at her, hundreds of attentive lights. "I was sent this." She lifted the chain over her head and held the pendant up. Deep crimson, glowing from within like an ember behind smoked glass. "Six weeks ago. No note. No name. And tonight it carried me across London to your door, so here is my question, and I would like an answer." The pendant swung at the end of its silver chain, and its pulse went out into the grove. Pulse, pulse, rest. The ground answered. A second pulse rose through her boot soles, from under the grass, deep and slow. Pulse, pulse, rest. The same rhythm. It had been the same rhythm since the stones. Since before the stones. Her scar burned now, a thin line of fire from wrist to elbow. The pull changed direction. All the way here the heat had drawn her inward, toward the heart of the grove. Now it hauled the other way, back and down, toward the stones behind her, and the rhythm quickened, pulse-pulse-rest running into itself, and every flower in the grove stopped following her and turned away, all at once, every head swinging to face the treeline. The grove held its breath. She turned. The gap she had walked through was gone. Not barred, not closed. Grown. Solid oak ran from one standing stone to the next, seamless, wet bark, no joint, no seam, as if the circle had never owned a door at all. Rule three. Behind her, close, at her right shoulder, the spoon began to stir. And with it came a voice, warm, patient, pleased, a host greeting a guest who has kept it waiting far longer than manners allow. "Hello, Malphora." The voice came from everywhere. From the grass. From the oaks. From under her own feet, where the second heartbeat kept its time. "You kept it warm all this way. Come and sit down. We kept your chair."
created_at"2026-09-24T14:25:02.605Z" 9/24/2026, 2:25:02 PM
model"aion-labs/aion-3.5-mini-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1474
moderation_latency(null)
generation_time238579
tokens_prompt4387
tokens_completion13329
native_tokens_prompt4126
native_tokens_completion12614
native_tokens_completion_images(null)
native_tokens_reasoning11447
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)
usage0.01840228
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790259902-SJcGyut2XWztPxkLsPf4"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790259902-HFisUcsvBK2Azj1NlB75"
upstream_id"c249739740c44e619973cb624405008a"
provider_responses
0
endpoint_id"60ac3bdc-90ec-4769-9193-2c00b4d79562"
id"c249739740c44e619973cb624405008a"
is_byokfalse
latency1474
model_permaslug"aion-labs/aion-3.5-mini-20260923"
provider_name"AionLabs"
status200
total_cost0.01840228
cache_discount0.00214552
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences8
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1349
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)
40.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1349
totalAiIsms16
found
0
word"warmth"
count1
1
word"silence"
count1
2
word"weight"
count1
3
word"pulse"
count12
4
word"quickened"
count1
highlights
0"warmth"
1"silence"
2"weight"
3"pulse"
4"quickened"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences115
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences115
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences120
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1349
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1268
uniqueNames17
maxNameDensity0.32
worstName"Pulse"
maxWindowNameDensity1
worstWindowName"Richmond"
discoveredNames
Rory1
Richmond2
Park1
Golden1
Empress1
Eva2
Tonight1
Robin1
Hood1
Gate1
Soho1
Thames1
Embankment1
Tuesday1
Isolde1
Deep1
Pulse4
persons
0"Rory"
1"Eva"
2"Robin"
3"Hood"
4"Gate"
5"Pulse"
places
0"Richmond"
1"Park"
2"Golden"
3"Soho"
4"Thames"
5"Embankment"
6"Isolde"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1349
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences120
matches
0"knew that rhythm"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs41
mean32.9
std24.38
cv0.741
sampleLengths
023
1106
230
362
458
510
628
75
831
953
1045
1179
1215
1355
1428
1514
1614
175
1879
1920
2053
2162
2238
2331
2433
2512
2626
2718
2855
2921
303
3147
3264
335
342
3541
362
3736
382
3923
4015
96.11% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences115
matches
0"been peeled"
1"was gone"
2"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs204
matches
0"was opening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences120
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount119
adjectiveStacks0
stackExamples(empty)
adverbCount2
adverbRatio0.01680672268907563
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences120
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences120
mean11.24
std9.86
cv0.877
sampleLengths
023
16
245
38
429
510
68
710
820
915
104
1132
123
138
1438
1510
162
178
1810
196
2022
212
223
234
2417
2510
2629
2719
285
2910
306
313
323
3323
344
3520
3617
374
385
393
4026
4115
426
435
4422
4522
4612
477
489
498
61.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.425
totalSentences120
uniqueOpeners51
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences106
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences106
matches
0"It dragged her out of"
1"She'd left a lie on"
2"She'd expected to climb the"
3"She walked with one hand"
4"She took a step."
5"It resumed, unhurried, keeping pace"
6"She had stood inside this"
7"She knew that rhythm."
8"Her reason for coming rearranged"
9"She had come for answers."
10"she said, to nobody, to"
11"It didn't feel like listening"
12"It felt like waiting."
13"She stepped through the stones."
14"It stopped, mid-note."
15"Her phone read 02:14."
16"She noted it the way"
17"She kept her eyes forward."
18"She turned her head and"
19"She faced forward."
ratio0.283
92.08% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount78
totalSentences106
matches
0"The pendant burned through her"
1"Tonight the warmth had climbed"
2"It dragged her out of"
3"She'd left a lie on"
4"She'd expected to climb the"
5"The gate stood open an"
6"The A3 ran along this"
7"Richmond without deer was a"
8"She walked with one hand"
9"The smell was leaf mould"
10"A fruit bowl forgotten in"
11"A quarter of an hour"
12"The small circling sound of"
13"The spoon stopped."
14"She took a step."
15"It resumed, unhurried, keeping pace"
16"Whatever stirred that cup had"
17"The standing stones rose out"
18"She had stood inside this"
19"Daylight was not on offer."
ratio0.736
94.34% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences106
matches
0"Now the pendant had carried"
1"Now it hauled the other"
ratio0.019
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences47
technicalSentenceCount2
matches
0"She walked with one hand flat against her chest, following the heat the way a sailor follows a compass needle, off the gravel and into the bracken, past oaks wh…"
1"Solid oak ran from one standing stone to the next, seamless, wet bark, no joint, no seam, as if the circle had never owned a door at all."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences8
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
92.8296%