Run: 2026-09-24-01M39X4Q85CJVN57M5BMNCTGA3

Run Details

Duration:
3m 22s
Cost:
$0.015780
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 woke at half eleven and hasn't shut up since. For three weeks it had sat against my sternum doing a passable impression of costume jewellery, cold as coins, dull as a clasp. Then, somewhere between last orders at Silas's bar and the top of my stairs, it started to pulse. Warm. Rhythmic. Insistent as a fingertip tapping glass. When it sings, follow. That was the whole of the note that came with it, tucked inside a parcel with no return address. I'd assumed singing was a metaphor. Whoever my benefactor was, they owed me an apology for the pun, and I intended to deliver it in person, assuming they hadn't lured me out here to die. Which is how I came to be hauling myself over nine feet of black iron railing in Richmond Park at ten past one, delivery-job reflexes finally paying dividends. The pendant led. I followed. Simple as that, and simple things had a way of going sideways on me. Frost silvered the grass in patches. My breath trailed white, and the park breathed around me, that vast asleep sound of trees at night. I kept my torch off. Light draws eyes. Instead I navigated by warmth, the little crimson stone ticking against my ribs, quicker now, tick-tock, tick-tock, like something small and excited in a box. It pulled me off the path at Pen Ponds, through bracken that clawed at my coat, and stopped dead at a ring of oaks. Not stopped. Held. Seven stones stood in a half-circle among the oaks, gnarled and ancient, furred with moss and lichen, each one taller than my dad. Wildflowers crowded their feet. Poppies, vetch, something blue and bell-shaped, all of it blooming fat and bright, in November, under frost. The frost stopped at the stones. It drew a clean line across the grass, a tide mark. Inside the line the ground lay green and soft and smelled of honey and cut stems. I checked my phone out of habit. 1:14. Signal bars: none. Fine. Parks eat signal. "Right," I said, to no one, because saying it aloud made it a decision. "Delivery for the weird. Sign here." I stepped between the two middle stones. Warmth closed over me like bathwater. My next breath came sweet and thick and green. Above, the sky had turned from black to a bruised violet, and the oaks had grown a canopy that hadn't existed a moment ago, and the flowers ran all the way to the centre of the clearing now, where a flat stone sat like a table set for nobody. I looked back. The gap I'd walked through remained. The park beyond it, frost and all, remained. Good. Exits matter. I looped a hair tie round a low branch at the entrance, counted my paces to the centre, forty-one, and put my back to the way I'd come. Whatever the pendant wanted, it wanted me here, beside the table-stone. I held it up. It glowed now, a faint inner red, pulsing faster than my heart, which took some doing, because my heart was doing its level best to leave through my throat. Warm means door. The benefactor's note had been plain on that much, and doors of that particular sort had no business flowering under a ring of fae oaks, and yet. The clearing was silent in a way that had texture. London silence, real silence, carries traffic in it, always, a hum under the floor of the world. This silence had nothing under it. It pressed on my eardrums like pond water. Then I took a step, and understood the silence. My boot came down on thick grass and made no sound at all. No crunch, no whisper, nothing. I stamped. Nothing. I jumped, both feet, landed hard. The grass accepted me the way snow accepts a falling man, gave back no noise, gave back no echo, and the silence closed over the spot like water over a stone. "Cool," I said, and heard my own voice perfectly, which was somehow worse. Something laughed, far off, high and delighted, a child at a party. I turned toward it and the laughter sat behind me. I turned again and it was gone, folded away, and the clearing pretended it had never happened. I stopped moving and did inventory. Torch: on me. Phone: 80%, 1:14, no signal. Hair tie: marking my door. Name: mine, and staying in my pocket, because names are currency in stories like this and I keep my wallet shut. Movement, at the rim of things. Between the second oak and the third, something pale stood, tall and still. I snapped my eyes to it. Nothing. Trunk, shadow, flowers. I let my gaze go soft and wide, the way you watch stars, and there it was again, patient as furniture, standing in the space between one blink and the next. I didn't look at it directly again. Some things you feed by watching. Instead I walked the circle, slow, keeping the centre-stone at my back. The moss held footprints. Trainer treads. My tread, the worn chevron of my left sole, the crack across the right where I'd caught a kerb in August. Dozens of sets, looping the clearing, crossing each other, some gone green and soft with moss, months old, some rimed with frost, and one set, cutting across all the others in a straight impatient line, still weeping water at the edges. Fresh. Minutes fresh. I crouched and laid my palm flat beside the wet print. Cold. My size. "Okay. New rule. Nobody walks behind me." The clearing said nothing, eloquently. My phone buzzed against my hip. I nearly dropped it. The screen glowed 3:33, battery icon empty and red, and then the screen went black and stayed black, and pressing the button gave me nothing at all. My phone had sat at 80% twenty minutes ago. I had not been here twenty minutes. God knew what the clock outside did while the one in here lied. Time ran sideways in places like this. I'd gathered that much from the corner of conversations I was never meant to hear. An hour in can be a minute out, or a year. The pendant hammered, hot through my coat, hot as a held hand. And then, threading through the silence, thin as wire: humming. A lullaby. Welsh, the vowels round and rising, the tune my mother sang over stair-gates and scraped knees and bad dreams. Hush now, my baby, hush now, my lovely. It came from my left. I turned my head, slow, and it came from my right, no footsteps between, no rustle, just the voice relocating like it had never been anywhere else. Her cadence. Her little catch on the third line, the one she'd deny to her grave. "Mum?" The humming stopped. The silence after it had a listening quality. The whole grove, oaks and flowers and the pale patient thing at the rim of my vision, leaned in. Rule one, made up on the fence with cold fingers crossed over cold iron: don't give them your name. Rule two: don't take what's offered. Rule three: never follow anything that calls you by name, because if it knows your name, it isn't asking. It's collecting. "Rory," said the grove. My own voice. Every side of me at once, a whisper worn smooth, saying it back the way my friends say it, warm, casual, mine. Then, closer: "Aurora." That one it did wrong, syllables in the right order but the music backwards, a name played in reverse, and my skin crawled off my bones and kept crawling. On the table-stone, a cup of tea sat steaming. It hadn't been there. I'd stood beside this stone for the better part of ten minutes and it had been bare as a coffin lid. Now a cup sat at its centre, white, chipped on the rim the exact way the mug at home is chipped, a curl of steam rising off it into air that smelled of honey and turned earth. Rule two. I put my hands in my pockets and left it sitting there, and the steam bent, briefly, toward me, like a dog testing a scent. The pendant went cold. Not cooled. Went cold, all at once, a hand withdrawing, and the glow guttered out, and the stone through my shirt was just a stone, and every hair on my body stood up and pointed at the space behind me. Forty-one paces to the door. I'd counted. I turned, careful, feet under me, and the gap between the stones was oak. Solid heartwood, grain swirling like stirred cream, grown shut and grown old, lichen already mapping it. I pressed my palm flat. Living wood, faintly warm, breathing in some slow vegetable way. My hair tie hung from a branch that now lived in the heart of a trunk two feet thick. Behind me, the grass whispered. Grass that had swallowed every sound I'd made all night whispered. One step, then another, unhurried, and the cold that came with it smelled of well water and old coins, and my fist closed round the dead stone in my pocket because it was the last thing left in the world that was mine. A touch landed on my shoulder. Light. Certain. Fingers long and pale, cold as the bottom of a well. I turned. A woman stood where my shadow should have been. She wore my delivery jacket, zipped to the height I zip it. She wore my face, and wore it the way I wear my coat, comfortably, with room to spare. Her eyes were my eyes, bright blue, and behind them something looked out that had been practising. "Aurora." My mother's voice, out of my mother's lullaby, out of my own mouth. "You came back, cariad."
created_at"2026-09-24T14:29:34.112Z" 9/24/2026, 2:29:34 PM
model"aion-labs/aion-3.5-mini-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1735
moderation_latency(null)
generation_time202145
tokens_prompt4387
tokens_completion11184
native_tokens_prompt4126
native_tokens_completion10741
native_tokens_completion_images(null)
native_tokens_reasoning8920
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)
usage0.01578008
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790260174-t8DTSx3zvGR0xxIJoRWT"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790260174-BUArVAB3Qg8hDDSErdU8"
upstream_id"4f14a581d58841c38daea43e7b4a8c6d"
provider_responses
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endpoint_id"60ac3bdc-90ec-4769-9193-2c00b4d79562"
id"4f14a581d58841c38daea43e7b4a8c6d"
is_byokfalse
latency1730
model_permaslug"aion-labs/aion-3.5-mini-20260923"
provider_name"AionLabs"
status200
total_cost0.01578008
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences9
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
96.95% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1639
totalAiIsmAdverbs1
found
0
adverb"perfectly"
count1
highlights
0"perfectly"
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)
45.09% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1639
totalAiIsms18
found
0
word"pulse"
count1
1
word"rhythmic"
count1
2
word"navigated"
count1
3
word"warmth"
count2
4
word"silence"
count7
5
word"whisper"
count2
6
word"echo"
count1
7
word"footsteps"
count1
8
word"grave"
count1
9
word"the last thing"
count1
highlights
0"pulse"
1"rhythmic"
2"navigated"
3"warmth"
4"silence"
5"whisper"
6"echo"
7"footsteps"
8"grave"
9"the last thing"
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
narrationSentences146
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences146
filterMatches
0"watch"
hedgeMatches
0"started to"
1"tended to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences150
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1639
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
totalMentions11
wordCount1616
uniqueNames8
maxNameDensity0.25
worstName"Rule"
maxWindowNameDensity2
worstWindowName"Rule"
discoveredNames
Silas1
Richmond1
Park1
Pen1
Ponds1
November1
August1
Rule4
persons
0"Silas"
places
0"Richmond"
1"Park"
2"Pen"
3"November"
4"August"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1639
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences150
matches
0"gathered that much"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs59
mean27.78
std20.25
cv0.729
sampleLengths
011
149
258
328
419
557
624
73
844
933
1015
1120
127
1364
1417
153
1639
1733
1830
1941
209
2158
2213
2339
2440
2560
2613
2716
2867
2914
307
315
3266
3333
3412
3510
3661
3716
381
393
4027
4146
424
4325
4432
459
4662
472
4825
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences146
matches
0"was gone"
1"offered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs270
matches
0"was doing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences150
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1627
adjectiveStacks1
stackExamples
0"faint inner red, pulsing"
adverbCount42
adverbRatio0.02581438229870928
lyAdverbCount9
lyAdverbRatio0.005531653349723417
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences150
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences150
mean10.93
std9.82
cv0.899
sampleLengths
011
123
218
31
41
56
64
719
86
929
1028
113
122
1314
146
1518
165
173
1825
1924
202
211
2223
234
2417
256
2611
2716
287
291
303
311
323
3314
346
357
366
379
3849
393
406
418
421
432
4428
4511
464
4729
483
4927
80.31% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.5302013422818792
totalSentences149
uniqueOpeners79
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences120
matches
0"Then, somewhere between last orders"
1"Instead I navigated by warmth,"
2"Then I took a step,"
3"Instead I walked the circle,"
4"Then, closer: That one it"
ratio0.042
73.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences120
matches
0"I'd assumed singing was a"
1"My breath trailed white, and"
2"I kept my torch off."
3"It pulled me off the"
4"It drew a clean line"
5"I checked my phone out"
6"I said, to no one,"
7"I stepped between the two"
8"My next breath came sweet"
9"I looked back."
10"I looped a hair tie"
11"I held it up."
12"It glowed now, a faint"
13"It pressed on my eardrums"
14"My boot came down on"
15"I jumped, both feet, landed"
16"I said, and heard my"
17"I turned toward it and"
18"I turned again and it"
19"I stopped moving and did"
ratio0.367
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount85
totalSentences120
matches
0"The pendant woke at half"
1"That was the whole of"
2"I'd assumed singing was a"
3"The pendant led."
4"Frost silvered the grass in"
5"My breath trailed white, and"
6"I kept my torch off."
7"Light draws eyes."
8"It pulled me off the"
9"Wildflowers crowded their feet."
10"Poppies, vetch, something blue and"
11"The frost stopped at the"
12"It drew a clean line"
13"I checked my phone out"
14"Parks eat signal."
15"I said, to no one,"
16"I stepped between the two"
17"Warmth closed over me like"
18"My next breath came sweet"
19"I looked back."
ratio0.708
83.33% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences120
matches
0"Whoever my benefactor was, they"
1"Now a cup sat at"
ratio0.017
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount2
matches
0"It glowed now, a faint inner red, pulsing faster than my heart, which took some doing, because my heart was doing its level best to leave through my throat."
1"One step, then another, unhurried, and the cold that came with it smelled of well water and old coins, and my fist closed round the dead stone in my pocket beca…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences9
tagDensity0.222
leniency0.444
rawRatio0
effectiveRatio0
95.7673%