Run: 2026-10-06-01M48VN6F6NAB5SZZPPVM38E9Z

Run Details

Duration:
40.1s
Cost:
$0.004234
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, but never like this. Never a slow, creeping warmth that spread from the crimson stone outward, as if something inside her chest had woken up and stretched. She pressed her palm against it through her coat and kept walking. The standing stones of the Fae Grove rose from the bracken like broken teeth. Rory had found this place three months ago, fleeing a delivery gone wrong in a part of Richmond Park she'd never noticed before. The oak pillars marked a boundary, she'd learned. Between here and there. Between now and then. Between the world she knew and whatever waited on the other side of the veil. She'd come back tonight because the pendant had started pulsing in her flat above Silas' bar. Not the faint thrum she'd grown accustomed to, but a frantic, arrhythmic fluttering, like a moth trapped against glass. The grove breathed. Rory knew this was madness. She knew it with the cold certainty of someone who'd spent two years studying contract law and could still recognise a bad bargain. But Eva had disappeared six days ago. Last seen walking her dog near the park's edge, never seen again. The police found the lead, the collar, the empty lead still clutched in Eva's hand. No blood. No struggle. Just absence, clean and absolute as a pulled tooth. And the pendant had gone cold the moment Eva vanished. Until tonight. Wildflowers bloomed in defiance of November. Foxgloves and bluebells and something Rory didn't have a name for, petals the colour of bruises, clustered thick around the stones' bases. The air tasted of honey and copper. Time moved wrong here. She'd learned that the hard way, stepping through for what felt like minutes and emerging to find three days gone from her phone's calendar. She'd come prepared this time. Torch. Phone, though she doubted it would hold signal. The silver chain with its crimson stone, worn beneath her shirt where the warmth could reach her skin. And the knife Eva had given her, a ridiculous thing with a carved bone handle, sharp enough to shave with. "Just in case," Eva had said, pressing it into Rory's palm at some café in Camden. "You know how I get about safety." Rory had laughed. She wasn't laughing now. The grove's centre opened before her like a held breath. A circle of mushrooms, pale and luminescent, ringed a depression in the earth where the grass grew in a spiral pattern. No path led here. No deer trail, no human footprint. Yet the mushrooms had been arranged, she was certain of it, their caps tilted inward as if listening to something at the spiral's heart. The pendant pulsed again. Three sharp beats, then silence. Rory stepped into the circle. The temperature dropped twelve degrees in an instant. Her breath plumed. The mushroom glow intensified, casting her shadow in multiple directions, though she had only one torch, held low at her side. The shadows moved independently of her, stretching and contracting, reaching toward the spiral's centre with fingers that weren't quite fingers. She raised the torch higher. The light revealed nothing. The spiral remained empty, a depression in the earth no deeper than a footprint, no wider than a dinner plate. But the shadows on the ground, the wrong shadows, the ones that didn't match her posture, they pressed closer. They gathered at the spiral's edge like spectators at a theatre. Something scratched in the bracken behind her. Rory turned. The torch beam caught movement, a flash of grey between the standing stones, then nothing. The scratching came again, closer, rhythmic, the sound of something dragging itself across dead leaves. She swept the beam across the grove's perimeter. The wildflowers swayed though there was no wind. The mushrooms pulsed in counter-rhythm to her heartbeat. "Hello?" Her voice came out smaller than she intended. The scratching stopped. In the silence, she heard breathing. Not hers. Something wet and ragged, like a dog with a collapsed lung, coming from everywhere and nowhere. The pendant burned hot enough to hurt. She pulled it free from beneath her coat, the silver chain cool against her palm, the crimson stone glowing now with its own faint luminescence, matching the mushrooms, matching the wrongness in the air. The breathing circled her. She turned slowly, torch sweeping, catching glimpses of movement at the grove's edge. A shape between the stones. A shape where no shape should be, too tall, too narrow, its proportions wrong in a way that made her eyes water when she tried to focus on it. Rory backed toward the spiral. The shadows on the ground retreated from her, pooling at the circle's centre, forming a shape she didn't want to see clearly. A shape that waited. The breathing stopped. The pendant went cold. In the sudden silence, Rory heard her own heartbeat, too fast, too loud, and beneath it, another sound. A whisper, or the memory of a whisper, in a language she almost recognised. Her mother's Welsh, perhaps, or her father's Irish brogue, twisted into something older. Something that predated both. "Eva," she whispered. The mushrooms flared. The shadows at the spiral's centre stood up. Rory ran. She didn't remember deciding to run. One moment she stood frozen at the circle's edge, the pendant dead and cold against her skin, and the next she crashed through bracken and bramble, thorns tearing her coat, her hands, her face. The torch swung wildly, catching glimpses of the grove's mad geometry, the standing stones that seemed to shift when she wasn't looking directly at them, the wildflowers that turned their bruise-coloured faces to follow her passage. Behind her, the breathing resumed. Not one breath now, but many. Dozens. Hundreds. A chorus of wet, ragged inhalations that surrounded her, that came from the trees and the earth and the air itself. The grove was full of them. The grove had always been full of them. She'd walked into a feeding ground and only now realised the bait had been her own desperation, her own need to find her friend, her own stupid, stubborn hope. The pendant flared hot again, so hot it blistered her palm through the chain. Rory didn't stop. She ran toward the standing stones, toward the boundary, toward the world she knew. The grove didn't want her to leave. She felt it in the way the bracken thickened before her, in the way the mushrooms rose from the earth to block her path, in the way the shadows detached from the ground and rose to meet her, too many, too hungry, their shapes wrong and getting wronger as they climbed. She found the stones. The ancient oak pillars, moss-crowned and lichen-bearded, standing in a semicircle that marked the grove's edge. She threw herself between them, felt the air change, felt the temperature normalise, felt the breathing recede like a tide pulling back from shore. Rory collapsed against the nearest stone. Her hands shook. The pendant had gone cold again, inert, but the blister on her palm wept clear fluid that steamed in the November air. She looked back into the grove. The mushrooms had gone dark. The wildflowers drooped, spent. The shadows had returned to the ground, flat and ordinary, though she could still feel them watching, waiting, patient as stone. And in the spiral's centre, where the grass grew in its impossible pattern, something moved. Something small and pale, rising from the earth on limbs that bent the wrong way, turning its head to watch her go with eyes that caught the moonlight and held it, hungry and ancient and utterly inhuman. Rory ran the rest of the way out of the park.
created_at"2026-10-06T15:00:04.208Z" 10/6/2026, 3:00:04 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1786
moderation_latency(null)
generation_time40100
tokens_prompt4387
tokens_completion1929
native_tokens_prompt4217
native_tokens_completion1700
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached3584
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"
usage0.00423432
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791298804-QeZ6eOAKAVV7r5CSn1Vq"
session_id(null)
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api_type"completions"
id"gen-1791298804-zf9VbSIvfu5VppAsjnZK"
upstream_id"c8661665aee045c8b41a83c3dd19f9fb"
provider_responses
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is_byokfalse
latency1765
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00423432
cache_discount0.00437248
upstream_inference_cost0
provider_name"Mistral"
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
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences4
tagDensity1
leniency1
rawRatio0
effectiveRatio0
92.25% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1291
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"utterly"
count1
highlights
0"slowly"
1"utterly"
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)
61.27% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1291
totalAiIsms10
found
0
word"warmth"
count2
1
word"pulsed"
count2
2
word"silence"
count3
3
word"rhythmic"
count1
4
word"whisper"
count2
highlights
0"warmth"
1"pulsed"
2"silence"
3"rhythmic"
4"whisper"
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
narrationSentences113
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences113
filterMatches(empty)
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences114
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen51
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1291
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount1275
uniqueNames11
maxNameDensity1.1
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Eva"
discoveredNames
Heartstone1
Rory14
Fae1
Grove1
Richmond1
Park1
Eva5
November2
Camden1
Welsh1
Irish1
persons
0"Rory"
1"Eva"
2"Camden"
places
0"Fae"
1"Grove"
2"Richmond"
3"Park"
4"November"
globalScore0.951
windowScore0.833
13.01% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences73
glossingSentenceCount4
matches
0"felt like minutes and emerging to find"
1"as if listening to something at the spiral's heart"
2"quite fingers"
3"stones that seemed to shift when she wasn't looking directly at them, the wildflowers that turned their bruise-coloured faces to follow her passage"
45.08% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.549
wordCount1291
matches
0"Not the faint thrum she'd grown accustomed to, but a frantic, arrhythmic fluttering, like a moth trapped agains"
1"Not one breath now, but many"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences114
matches
0"learned that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs39
mean33.1
std26.89
cv0.812
sampleLengths
07
146
268
335
43
575
612
763
852
923
107
1165
129
135
1452
155
1654
177
1856
199
203
2165
2251
2331
243
254
2649
273
2811
292
3076
3177
3289
3344
3431
356
3630
3752
3811
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences113
matches
0"been arranged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs206
matches
0"wasn't laughing"
1"wasn't looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences114
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount141
adjectiveStacks0
stackExamples(empty)
adverbCount3
adverbRatio0.02127659574468085
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences114
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences114
mean11.32
std9.23
cv0.815
sampleLengths
07
111
223
312
414
523
68
74
84
915
1016
1119
123
135
1423
157
1612
1715
182
192
209
2110
222
236
2422
257
264
2724
285
291
308
3118
3220
3316
347
353
364
3710
3821
394
406
4124
424
435
445
458
463
4721
4820
495
35.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.2719298245614035
totalSentences114
uniqueOpeners31
32.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences103
matches
0"Just absence, clean and absolute"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences103
matches
0"She'd felt it before, that"
1"She pressed her palm against"
2"She'd come back tonight because"
3"She knew it with the"
4"She'd learned that the hard"
5"She'd come prepared this time."
6"She wasn't laughing now."
7"Her breath plumed."
8"She raised the torch higher."
9"They gathered at the spiral's"
10"She swept the beam across"
11"Her voice came out smaller"
12"She pulled it free from"
13"She turned slowly, torch sweeping,"
14"Her mother's Welsh, perhaps, or"
15"She didn't remember deciding to"
16"She'd walked into a feeding"
17"She ran toward the standing"
18"She felt it in the"
19"She found the stones."
ratio0.223
66.80% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount81
totalSentences103
matches
0"The Heartstone pendant burned against"
1"She'd felt it before, that"
2"She pressed her palm against"
3"The standing stones of the"
4"Rory had found this place"
5"The oak pillars marked a"
6"She'd come back tonight because"
7"The grove breathed."
8"Rory knew this was madness."
9"She knew it with the"
10"The police found the lead,"
11"Wildflowers bloomed in defiance of"
12"Foxgloves and bluebells and something"
13"The air tasted of honey"
14"Time moved wrong here."
15"She'd learned that the hard"
16"She'd come prepared this time."
17"The silver chain with its"
18"Eva had said, pressing it"
19"Rory had laughed."
ratio0.786
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences103
matches(empty)
ratio0
3.11% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount9
matches
0"Never a slow, creeping warmth that spread from the crimson stone outward, as if something inside her chest had woken up and stretched."
1"She knew it with the cold certainty of someone who'd spent two years studying contract law and could still recognise a bad bargain."
2"Yet the mushrooms had been arranged, she was certain of it, their caps tilted inward as if listening to something at the spiral's heart."
3"The shadows moved independently of her, stretching and contracting, reaching toward the spiral's centre with fingers that weren't quite fingers."
4"The shadows on the ground retreated from her, pooling at the circle's centre, forming a shape she didn't want to see clearly."
5"The torch swung wildly, catching glimpses of the grove's mad geometry, the standing stones that seemed to shift when she wasn't looking directly at them, the wi…"
6"A chorus of wet, ragged inhalations that surrounded her, that came from the trees and the earth and the air itself."
7"The ancient oak pillars, moss-crowned and lichen-bearded, standing in a semicircle that marked the grove's edge."
8"Something small and pale, rising from the earth on limbs that bent the wrong way, turning its head to watch her go with eyes that caught the moonlight and held …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"Eva had (have)"
1"she whispered (whisper)"
dialogueSentences4
tagDensity0.5
leniency1
rawRatio1
effectiveRatio1
77.7727%