Run: 2026-10-06-01M48VN21C5YFV6ZEDWH7QDPVP

Run Details

Duration:
56.1s
Cost:
$0.007948
Provider:
Mistral

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 Heartstone pendant burned against Rory's sternum. She'd felt it before, that particular heat, like a coal pressed to skin. Never this strong. Never in Richmond Park. Rory crouched behind the ancient oak standing stone, her breath shallow, her phone clutched in one hand. The screen showed 11:47 PM. She'd entered the park at 9. The Grove had swallowed two hours without her noticing. "Hello?" Her voice cracked. The clearing answered with nothing. She'd come here for Eva. That was the reason, the only reason. Eva's text three days ago: *I know what you are. Meet me where the wildflowers never die. Come alone. Don't bring the pendant.* The message had deleted itself after sixty seconds. Eva had stopped answering calls after that. Rory had brought the pendant anyway. Some instinct, some stupid loyalty, some part of her that refused to believe her oldest friend had turned traitor or terrified or something worse. The wildflowers bloomed in impossible profusion around her. Bluebells. Foxgloves. Flowers that shouldn't coexist, shouldn't exist at all in November, their colours too vivid, their shapes slightly wrong when she tried to focus on them directly. She'd learned not to look too closely. The Grove punished curiosity. A twig snapped. Rory spun, her torch beam cutting through darkness that felt thicker than night should be. Empty. Just empty. The beam caught moth wings, hundreds of them, drifting in spirals that made her stomach clench. Moths in November. In London. In a clearing that existed between worlds. "Show yourself." Her voice steadied. "I know you're here." Laughter answered. Not from any direction she could locate, but from everywhere, layered like a recording played backwards and forwards simultaneously. A woman's laugh, young, familiar, wrong in its familiarity. "Eva?" The laughter stopped. The silence that followed felt deliberate, patient. Rory checked her phone again. 11:52. Five minutes. She'd been in the Grove for nearly three hours. The pendant burned hotter. She pulled it from beneath her coat, the silver chain cool against her fingers, the crimson gemstone pulsing with its faint inner glow. It had never pulsed like this. Never throbbed in time with a heartbeat that wasn't hers. "Hel portal," she whispered. The words came from somewhere else, some knowledge she didn't possess. "It's near a Hel portal." She'd read about Hel in Eva's books. Eva's obsessions. The Norse realm of the dead, the Helheim, the place where the dishonourable went. Portals between worlds, thin places, the Fae-touched earth where Richmond Park's ancient oaks had stood for millennia before the Romans came, before the Celts, before whatever had built the standing stones that marked the Grove's boundary. Rory had thought it was metaphor. Eva's research, her PhD thesis on liminal spaces, her desperate need to find something real in a world that felt increasingly hollow. She'd been wrong. The flowers were moving. Not swaying in wind. There was no wind. They turned their blooms toward her, hundreds of faces of petals tracking her movement, and Rory understood with horrible certainty that she was not hunting Eva. She was being hunted. Rory ran. Her boots found paths that shouldn't exist, roots that shifted beneath her feet, ground that gave and solidified in patterns that made her teeth ache. The torch beam caught glimpses: a deer with too many joints in its legs, watching her from between two oaks that grew from the same trunk; a figure in white standing perfectly still at the clearing's edge, face obscured by shadow that moved against the torchlight; her own reflection in a pool of water that showed her running while she stood frozen, mouth open in a scream she couldn't hear. The pendant blazed now, crimson light spilling from beneath her coat, and Rory realised with distant horror that she was leaving a trail. Not footprints. Light. The Grove was marking her, claiming her, and she had perhaps minutes before the boundary stones became irrelevant, before the pocket between worlds sealed with her inside. She found the standing stones by following the heat. They rose from earth that wasn't earth, moss that glowed faintly green, and Rory pressed her palm against the nearest stone and felt the vibration of centuries, the weight of pacts made in languages that predated human speech. The Grove had been a door once. A door that opened both ways. "Eva!" she screamed. "Eva, if you're here, help me!" The stone answered. Not with words. With memory. She saw a woman in white, young, beautiful in a way that hurt to observe, standing in this same clearing decades ago. She saw herself, or someone who looked like her, arriving with flowers and questions and a desperate need to believe. She saw the Grove taking, always taking, offering glimpses of what was wanted in exchange for what was needed. Rory saw Eva. Last week. Yesterday. An hour ago. Eva running. Eva hiding. Eva standing in this clearing with something behind her, something that wore Eva's face like a mask, and Eva screaming without sound while the thing that wore her skin smiled with her mouth. The vision shattered. Rory stumbled backward, her torch falling, rolling into darkness. She scrambled for it, fingers closing on smooth glass, and when she raised it again the clearing had changed. The wildflowers had closed, their blooms folding into buds that pulsed with faint bioluminescence. The air tasted of copper and honey. And at the centre of the clearing, where no figure had stood before, a woman sat on a stone bench that hadn't existed moments ago. She wore Rory's face. Not Eva's. Rory's. Same black hair, same blue eyes, same crescent scar on the left wrist that Rory traced a thousand times in childhood nightmares. The thing smiled with Rory's mouth, and when it spoke, the voice was Rory's voice layered over Eva's, over something older, something that had worn many faces across many centuries. "You brought the key." It stood, and Rory saw that its feet didn't touch the ground, that the shadow it cast moved independently, reaching toward her with fingers that ended in thorns. "I wondered how long it would take. The last one took three days. You're faster than I expected." Rory backed against the standing stone. It was warm now, almost hot, and she felt the Grove pressing in, the boundary thinning, the pocket between worlds preparing to seal. "I don't understand." Her voice came out steady despite the terror clawing at her throat. She'd learned that from her father, the barrister who'd taught her to think even when her heart hammered against her ribs. "What do you want?" The thing that wore her face tilted its head, and Rory saw her own expression of confusion reflected back at her, and felt something crack inside her chest. "Eva wanted to see her friend." The voice slid between registers, Eva's Cardiff lilt bleeding into something that made her fillings ache. "Eva wanted to know if love could cross the boundary. If sacrifice could open the door." It stepped closer, and Rory smelled her own perfume, jasmine and something darker, something that had never been in the bottle. "Eva learned the answer. Now she's waiting inside. And you, little key, you can join her. Or you can take her place. The Grove always needs new guardians. New lures." Rory looked at the pendant. The crimson gemstone pulsed once, twice, in time with her heartbeat now, and she understood with horrible clarity that it had never been a gift. It had been a lock. A mechanism. Something that responded to Hel portals, yes, but also something that could open them, that could widen the tear between worlds, that could— She threw it. The Heartstone struck the thing's chest, and the clearing screamed. Not a sound, but a pressure, a tearing, a sensation of fabric ripping that Rory felt in her teeth and her bones and the scar on her wrist, which blazed white-hot and opened, not with blood but with light, with possibility, with the accumulated weight of every choice she'd ever made and every path she'd ever refused to take. The thing that wore her face shrieked, and for a moment Rory saw what it truly was: not a monster, not a fae, not anything with a name in human tongues, but a hunger, a need, a door that had been left open too long and had learned to want, to crave, to wear the shapes of those who came close enough to feed it. The standing stones blazed. Rory ran for them, not away, not toward the boundary but through it, and the world folded around her like a letter being sealed, and she felt the Grove's fingers closing on her shoulders, felt Eva's voice calling her name from somewhere inside the dark, felt the pendant's absence like a missing tooth, a hole in reality that would not, could not, remain empty— She hit the stone. Pain. Light. The sensation of being pulled through a keyhole, of every atom in her body screaming as it was stretched and compressed and reassembled, and then— Silence. Rory lay on grass that was ordinary grass, November grass, cold and damp and real. Above her, the branches of an oak tree moved in wind that actually existed, that carried actual sounds: traffic from the A316, a dog barking three streets away, the distant wail of a siren that belonged to a world with rules, with boundaries, with doors that stayed closed. She sat up. Her torch lay beside her, still lit, its beam pointing at nothing. Her phone showed 9:03 PM. She'd been in the park for twelve minutes. The pendant hung around her neck, cool now, dormant, its crimson stone dark as dried blood. Rory touched her wrist. The scar was there, unchanged, unbroken. But when she flexed her fingers, she felt something else beneath the skin, something that pulsed faintly, that waited, that remembered the Grove and the thing that wore her face and the choice she hadn't made, the choice she'd interrupted, the door she'd slammed shut with a key she no longer possessed. She stood. The park stretched around her, ordinary and safe and utterly, completely alone. Behind her, at the edge of her vision, something moved between the trees. Something that wore the shape of a woman with black hair and blue eyes, standing perfectly still, watching her leave. Rory didn't run. She walked. Fast, but controlled, the way her father had taught her to walk into courtrooms, into meetings, into any space where fear tried to claim the ground beneath her feet. She didn't look back. But she heard it. Or she thought she heard it. A laugh, layered and familiar and wrong, following her out of the park, out onto the streets, into the ordinary world where doors stayed closed and the dark things stayed hungry and the Grove waited, patient as stone, for the next key to arrive. The pendant pulsed once against her sternum. Rory's hand found it, and she didn't let go.
created_at"2026-10-06T14:59:59.676Z" 10/6/2026, 2:59:59 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency810
moderation_latency(null)
generation_time56072
tokens_prompt4387
tokens_completion2746
native_tokens_prompt4217
native_tokens_completion2431
native_tokens_completion_images(null)
native_tokens_reasoning0
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"default"
usage0.00794835
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791298799-4kzkVqLsnTeyMIuN9dWu"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791298799-ahXAUElEb2a0h12PdP0g"
upstream_id"fc7e315b29c842278db5b46a86ccf07e"
provider_responses
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endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
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is_byokfalse
latency810
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00794835
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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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
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences15
tagDensity0.533
leniency1
rawRatio0
effectiveRatio0
83.68% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1838
totalAiIsmAdverbs6
found
0
adverb"slightly"
count1
1
adverb"perfectly"
count2
2
adverb"truly"
count1
3
adverb"utterly"
count1
4
adverb"completely"
count1
highlights
0"slightly"
1"perfectly"
2"truly"
3"utterly"
4"completely"
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)
56.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1838
totalAiIsms16
found
0
word"stomach"
count1
1
word"familiar"
count2
2
word"silence"
count2
3
word"pulsed"
count5
4
word"throbbed"
count1
5
word"weight"
count2
6
word"shattered"
count1
7
word"traced"
count1
8
word"lilt"
count1
highlights
0"stomach"
1"familiar"
2"silence"
3"pulsed"
4"throbbed"
5"weight"
6"shattered"
7"traced"
8"lilt"
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
narrationSentences144
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences144
filterMatches
0"know"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences151
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen70
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords18
totalWords1838
ratio0.01
matches
0"I know what you are. Meet me where the wildflowers never die. Come alone. Don't bring the pendant."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions78
wordCount1735
uniqueNames18
maxNameDensity1.67
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Heartstone2
Rory29
Richmond2
Park2
Grove11
Eva17
November3
London1
Laughter1
Hel2
Norse1
Helheim1
Fae-touched1
Romans1
Celts1
PhD1
Cardiff1
Silence1
persons
0"Heartstone"
1"Rory"
2"Grove"
3"Eva"
4"Laughter"
5"Romans"
6"PhD"
places
0"Richmond"
1"Park"
2"November"
3"London"
4"Hel"
5"Cardiff"
globalScore0.664
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount1
matches
0"looked like her, arriving with flowers an"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches8
per1kWords4.353
wordCount1838
matches
0"Not from any direction she could locate, but from everywhere, layered like a recording played backwards"
1"Not a sound, but a pressure, a tearing, a sensation of fabric ripping"
2"not with blood but with light, with possibility, with the accumulated weight of"
3"not a monster, not a fae, not anything with a name in human tongues, but a hunger, a need, a door"
4"not a fae, not anything with a name in human tongues, but a hunger, a need, a door"
5"not anything with a name in human tongues, but a hunger, a need, a door"
6"not away, not toward the boundary but through it"
7"not toward the boundary but through it"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences151
matches
0"saw that its"
1"ripping that Rory"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs61
mean30.13
std24.87
cv0.825
sampleLengths
07
120
237
39
450
530
647
73
846
99
1030
111
1210
1317
1443
1520
1659
1728
183
194
2034
214
222
2395
2453
259
2651
279
283
2966
309
3137
323
3374
344
3555
3650
3729
3840
3928
4089
4160
423
4369
4465
454
4664
474
4827
491
95.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences144
matches
0"being hunted"
1"was wanted"
2"been left"
3"being pulled"
4"was stretched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs302
matches
0"was not hunting"
1"was leaving"
2"was marking"
67.17% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount2
flaggedSentences4
totalSentences151
ratio0.026
matches
0"The torch beam caught glimpses: a deer with too many joints in its legs, watching her from between two oaks that grew from the same trunk; a figure in white standing perfectly still at the clearing's edge, face obscured by shadow that moved against the torchlight; her own reflection in a pool of water that showed her running while she stood frozen, mouth open in a scream she couldn't hear."
1"Something that responded to Hel portals, yes, but also something that could open them, that could widen the tear between worlds, that could—"
2"Rory ran for them, not away, not toward the boundary but through it, and the world folded around her like a letter being sealed, and she felt the Grove's fingers closing on her shoulders, felt Eva's voice calling her name from somewhere inside the dark, felt the pendant's absence like a missing tooth, a hole in reality that would not, could not, remain empty—"
3"The sensation of being pulled through a keyhole, of every atom in her body screaming as it was stretched and compressed and reassembled, and then—"
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1737
adjectiveStacks0
stackExamples(empty)
adverbCount54
adverbRatio0.031088082901554404
lyAdverbCount16
lyAdverbRatio0.009211283822682787
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences151
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences151
mean12.17
std13.62
cv1.119
sampleLengths
07
113
23
34
417
55
66
79
84
95
105
117
1210
137
142
1512
167
176
1824
198
201
211
2226
237
244
253
2615
271
282
2916
303
312
327
335
344
352
3619
379
381
393
407
415
421
432
449
454
4623
476
4810
494
42.89% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.31333333333333335
totalSentences150
uniqueOpeners47
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences116
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences116
matches
0"She'd felt it before, that"
1"She'd entered the park at"
2"Her voice cracked"
3"She'd come here for Eva."
4"She'd learned not to look"
5"Her voice steadied"
6"She'd been in the Grove"
7"She pulled it from beneath"
8"It had never pulsed like"
9"She'd read about Hel in"
10"She'd been wrong."
11"They turned their blooms toward"
12"She was being hunted."
13"Her boots found paths that"
14"She found the standing stones"
15"They rose from earth that"
16"She saw a woman in"
17"She saw herself, or someone"
18"She saw the Grove taking,"
19"She scrambled for it, fingers"
ratio0.293
41.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount97
totalSentences116
matches
0"The Heartstone pendant burned against"
1"She'd felt it before, that"
2"Rory crouched behind the ancient"
3"The screen showed 11:47 PM."
4"She'd entered the park at"
5"The Grove had swallowed two"
6"Her voice cracked"
7"The clearing answered with nothing."
8"She'd come here for Eva."
9"That was the reason, the"
10"Eva's text three days ago:"
11"Eva had stopped answering calls"
12"Rory had brought the pendant"
13"Some instinct, some stupid loyalty,"
14"The wildflowers bloomed in impossible"
15"Flowers that shouldn't coexist, shouldn't"
16"She'd learned not to look"
17"The Grove punished curiosity."
18"A twig snapped."
19"Rory spun, her torch beam"
ratio0.836
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences116
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount18
matches
0"Some instinct, some stupid loyalty, some part of her that refused to believe her oldest friend had turned traitor or terrified or something worse."
1"Flowers that shouldn't coexist, shouldn't exist at all in November, their colours too vivid, their shapes slightly wrong when she tried to focus on them directl…"
2"Portals between worlds, thin places, the Fae-touched earth where Richmond Park's ancient oaks had stood for millennia before the Romans came, before the Celts, …"
3"Eva's research, her PhD thesis on liminal spaces, her desperate need to find something real in a world that felt increasingly hollow."
4"The torch beam caught glimpses: a deer with too many joints in its legs, watching her from between two oaks that grew from the same trunk; a figure in white sta…"
5"They rose from earth that wasn't earth, moss that glowed faintly green, and Rory pressed her palm against the nearest stone and felt the vibration of centuries,…"
6"She saw a woman in white, young, beautiful in a way that hurt to observe, standing in this same clearing decades ago."
7"She saw herself, or someone who looked like her, arriving with flowers and questions and a desperate need to believe."
8"Eva standing in this clearing with something behind her, something that wore Eva's face like a mask, and Eva screaming without sound while the thing that wore h…"
9"The thing smiled with Rory's mouth, and when it spoke, the voice was Rory's voice layered over Eva's, over something older, something that had worn many faces a…"
10"She'd learned that from her father, the barrister who'd taught her to think even when her heart hammered against her ribs."
11"The thing that wore her face tilted its head, and Rory saw her own expression of confusion reflected back at her, and felt something crack inside her chest."
12"Not a sound, but a pressure, a tearing, a sensation of fabric ripping that Rory felt in her teeth and her bones and the scar on her wrist, which blazed white-ho…"
13"Rory ran for them, not away, not toward the boundary but through it, and the world folded around her like a letter being sealed, and she felt the Grove's finger…"
14"Rory lay on grass that was ordinary grass, November grass, cold and damp and real."
15"Above her, the branches of an oak tree moved in wind that actually existed, that carried actual sounds: traffic from the A316, a dog barking three streets away,…"
16"But when she flexed her fingers, she felt something else beneath the skin, something that pulsed faintly, that waited, that remembered the Grove and the thing t…"
17"Something that wore the shape of a woman with black hair and blue eyes, standing perfectly still, watching her leave."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount0
matches(empty)
16.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"she whispered (whisper)"
1"she screamed (scream)"
dialogueSentences15
tagDensity0.133
leniency0.267
rawRatio1
effectiveRatio0.267
74.0320%