Run: 2026-10-06-01M48VV6KBQ7QMXEDA11ZN6ZV4

Run Details

Duration:
1m 4s
Cost:
$0.006730
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. A slow, insistent throb, like a second heartbeat trying to synchronise with her own. She pressed her palm against the silver chain, and the warmth flared, then settled into something almost patient. Waiting. Richmond Park had emptied hours ago. The deer had retreated to the deeper woodland, and the last of the joggers and dog-walkers had long since fled the dropping temperature. Rory stood at the edge of the Fae Grove, her breath clouding in sharp, white bursts, and stared at the standing stones. They hadn't been here when she'd visited as a child. Or perhaps they had, and she'd simply never seen them. The oak trunks were carved with spirals that seemed to shift when she looked directly at them, settling into stillness only when her gaze drifted to the edges. Three stones, arranged in a triangle, their surfaces slick with moss that glowed faintly, a pale luminescence that had no business existing in a London park. Eva had sent her the coordinates. *Come alone*, the message had read. *Bring the pendant. Don't bring anyone else.* Rory had almost laughed. Eva, who'd fled to Brighton three years ago and hadn't spoken to her since, who'd stopped answering calls and deleted her social media, suddenly resurfacing with cryptic instructions about a place Rory couldn't find on any map. But the pendant had arrived that morning. No postmark. No name. Just the silver chain and the crimson stone, pulsing now with a warmth that matched the rhythm of her own pulse, as if it had learned her heartbeat and decided to keep time with it. She stepped between the stones. The air changed immediately. Not temperature, exactly, though her skin prickled with a cold that had nothing to do with the November night. The Grove existed in a pocket, Eva had written. Time moved differently here. An hour inside could be minutes outside. Or days. Rory had prepared for this. She'd packed a torch, a power bank, protein bars, a notebook. Practical things. The things she'd learned to carry after Evan, after the flat in Cardiff where she'd woken to find him standing over her bed, after the months of looking over her shoulder in London, waiting for him to find her again. She clicked on the torch. The beam caught wildflowers. Bluebells, foxgloves, winter roses, all blooming in impossible profusion, their colours too vivid, too saturated, as if the Grove itself were a photograph that someone had overexposed. The scent hit her next, thick and cloying, like honey left too long in the sun. Sweet. Wrong. "Hello?" Her voice came out smaller than she intended, swallowed by the unnatural silence. No birds. No insects. No distant traffic from the North Circular, which should have been audible even here. Just the pulse of the pendant against her chest, and her own breathing, too loud, too present. Rory walked deeper into the clearing. The flowers parted around her boots, stems bending without wind, and she found herself walking faster, her practical preparations suddenly feeling absurd. The torch beam trembled in her grip. Something moved at the edge of the light. She froze. The torch held steady, illuminating a circle of impossible flowers, and beyond that circle, darkness that seemed thicker than the night outside. But in that darkness, something had shifted. A shape, perhaps. Or a shadow cast by a shadow. "Who's there?" Silence. Then, from somewhere behind her, the sound of water. A stream, perhaps. Or something that mimicked a stream. The sound came in irregular bursts, as if whatever made it were learning the rhythm, practising. Rory turned. The torch swung with her, and for a moment she saw the standing stones again, but they were wrong now, tilted at angles that hurt to look at, their carved spirals writhing like something beneath skin. She turned back to the path ahead. The flowers had changed. Where there had been bluebells, now there were lilies, white and fleshy, their centres dark as bruises. The scent had shifted too, from sweet to something else, something organic and close, like the inside of a mouth. The pendant burned hot. Rory ran. Not far. Just a few steps, enough to put distance between herself and the lilies, and then she stopped, gasping, and realised that she didn't know which direction was back. The torch beam showed only more flowers, more darkness beyond, and the path she'd taken had vanished, swallowed by the blooming, by the wrongness of this place. She checked her phone. No signal, of course. But the time, when she finally found the screen, made her stomach clench. 3:47 AM. She'd entered the Grove at 11 PM. Nearly five hours, and she'd walked perhaps two hundred metres. Or perhaps she'd walked for days. The Grove didn't care about her measurements. " Eva?" The name tasted strange in her mouth. "Eva, if you're here, this isn't funny." The stream sounded again, closer now, and beneath it, something else. A voice, perhaps, or the memory of a voice. She couldn't make out words, only the shape of speech, the cadence of someone calling her name. Rory walked towards it. She told herself it was the pendant, that the warmth was guiding her, that Eva was somewhere ahead and the Grove was simply... testing her. But her feet moved without her decision, drawn by the sound, by the promise of another person in this place that had no business containing people. The flowers thickened. She pushed through them, stems snapping with a sound like breaking bone, and found herself at the edge of a pool. The water was still, black, reflecting nothing. Not the torch beam. Not the flowers. Not the sky, which above the pool showed only stars that didn't belong to any constellation she recognised. And on the far side of the pool, sitting on a stone that rose from the water like a natural throne, was a woman. She wore white. Or something that had once been white, now stained with the colours of the Grove, with moss and pollen and something darker that Rory didn't want to identify. Her hair hung to her waist, black and straight, and her face, when she turned it towards Rory, was beautiful and terrible and wrong in a way that Rory's mind refused to process. "You brought it." The woman's voice was Eva's voice, but layered, as if several people spoke through the same throat. "Good. She always does, in the end." Rory's hand went to the pendant. It pulsed once, sharply, and she felt something tear in her chest, some connection severed or established, she couldn't tell which. "Eva?" The word came out as a whisper. "What is this? What have you done?" The woman smiled. Her teeth were too white, too numerous, and when she stood, the water didn't ripple. She simply rose, dripping nothing, leaving no wake, and stepped onto the bank as if the pool were solid ground. "Done?" The smile widened. "I've done nothing, Aurora. I've only waited. As she waited. As they all wait, in the Grove, in the dark between, in the places where your kind don't look." She extended a hand, and Rory saw that her fingers were too long, the joints bending backwards, and she understood with horrible certainty that this was not Eva, had perhaps never been Eva, had simply worn Eva's shape like a coat. "But you," the thing continued, stepping closer, and the flowers between them bowed away from its passage, "you have something she needs. Something that burns. Something that remembers." The Heartstone pendant blazed against Rory's chest, and she felt it now, the truth of it, the reason it had been sent to her, the reason Eva had fled and vanished and finally, desperately, reached out. It wasn't a gift. It was a key. Or a lock. Or both. The thing that wore Eva's face reached for her. And from the darkness beyond the standing stones, something else answered, something that had been waiting longer than the Grove, longer than the woman in white, longer than the pendant's crimson glow. Something that heard the Heartstone's pulse and came running, hungry and patient and utterly inhuman, and Rory understood with perfect, terrible clarity that she had not been lured here. She had been delivered.
created_at"2026-10-06T15:03:20.95Z" 10/6/2026, 3:03:20 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency860
moderation_latency(null)
generation_time64452
tokens_prompt4387
tokens_completion2073
native_tokens_prompt4217
native_tokens_completion1848
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"
usage0.00672988
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791299000-rkFIQBYgz5mazxWiNYJJ"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791299000-i3Ac0fpBuBuPJUKSEHug"
upstream_id"e0e80a99078c4ba18c3d1a85bdad0756"
provider_responses
0
endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
id"e0e80a99078c4ba18c3d1a85bdad0756"
is_byokfalse
latency859
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00672988
cache_discount(null)
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences11
tagDensity0.636
leniency1
rawRatio0
effectiveRatio0
85.70% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1399
totalAiIsmAdverbs4
found
0
adverb"suddenly"
count2
1
adverb"sharply"
count1
2
adverb"utterly"
count1
highlights
0"suddenly"
1"sharply"
2"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)
49.96% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1399
totalAiIsms14
found
0
word"throb"
count1
1
word"warmth"
count3
2
word"pulse"
count3
3
word"silence"
count2
4
word"trembled"
count1
5
word"stomach"
count1
6
word"pulsed"
count1
7
word"whisper"
count1
8
word"perfect"
count1
highlights
0"throb"
1"warmth"
2"pulse"
3"silence"
4"trembled"
5"stomach"
6"pulsed"
7"whisper"
8"perfect"
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
narrationSentences114
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences114
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences118
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen70
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords9
totalWords1400
ratio0.006
matches
0"Come alone"
1"Bring the pendant. Don't bring anyone else."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1327
uniqueNames13
maxNameDensity1.21
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Heartstone3
Rory16
Park1
Fae1
Grove8
London2
Brighton1
November1
Eva10
Evan1
Cardiff1
North1
Circular1
persons
0"Heartstone"
1"Rory"
2"Eva"
3"Evan"
places
0"Park"
1"Fae"
2"Grove"
3"London"
4"Brighton"
5"Cardiff"
6"North"
globalScore0.897
windowScore0.667
79.58% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount2
matches
0"spirals that seemed to shift when she looked directly at them, settling into stillness only when her gaze drifted to the edges"
1"seemed thicker than the night outside"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1400
matches(empty)
81.92% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences118
matches
0"arrived that morning"
1"realised that she"
2"saw that her"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean31.82
std20.78
cv0.653
sampleLengths
07
144
251
374
419
541
646
75
845
958
105
1149
1214
1335
1435
158
1641
172
1835
1938
207
2141
224
232
2457
2540
2613
2716
2837
294
3051
3156
3224
3364
3427
3527
3615
3738
3874
3928
4049
419
4261
434
92.95% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences114
matches
0"were carved"
1"been sent"
2"been lured"
3"been delivered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs221
matches
0"were learning"
1"was guiding"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences118
ratio0
matches(empty)
93.49% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1328
adjectiveStacks0
stackExamples(empty)
adverbCount63
adverbRatio0.04743975903614458
lyAdverbCount21
lyAdverbRatio0.01581325301204819
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences118
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences118
mean11.86
std11.29
cv0.952
sampleLengths
07
111
214
318
41
56
623
722
810
910
1028
1126
126
136
143
154
164
1737
187
192
202
2135
225
234
2419
259
264
277
282
295
3011
312
3240
335
344
3527
3616
371
381
3914
402
412
4214
4317
446
4522
467
478
482
4922
48.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3389830508474576
totalSentences118
uniqueOpeners40
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences97
matches
0"Just the silver chain and"
1"Just the pulse of the"
2"Then, from somewhere behind her,"
3"Just a few steps, enough"
4"Nearly five hours, and she'd"
ratio0.052
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount22
totalSentences97
matches
0"She'd felt it before, that"
1"She pressed her palm against"
2"They hadn't been here when"
3"She stepped between the stones."
4"She'd packed a torch, a"
5"She clicked on the torch."
6"Her voice came out smaller"
7"She turned back to the"
8"She checked her phone."
9"She'd entered the Grove at"
10"She couldn't make out words,"
11"She told herself it was"
12"She pushed through them, stems"
13"She wore white."
14"Her hair hung to her"
15"It pulsed once, sharply, and"
16"Her teeth were too white,"
17"She simply rose, dripping nothing,"
18"She extended a hand, and"
19"It wasn't a gift."
ratio0.227
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount69
totalSentences97
matches
0"The Heartstone pendant burned against"
1"She'd felt it before, that"
2"A slow, insistent throb, like"
3"She pressed her palm against"
4"Richmond Park had emptied hours"
5"The deer had retreated to"
6"Rory stood at the edge"
7"They hadn't been here when"
8"The oak trunks were carved"
9"Eva had sent her the"
10"Rory had almost laughed."
11"Eva, who'd fled to Brighton"
12"She stepped between the stones."
13"The air changed immediately."
14"The Grove existed in a"
15"Time moved differently here."
16"An hour inside could be"
17"Rory had prepared for this."
18"She'd packed a torch, a"
19"The things she'd learned to"
ratio0.711
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount9
matches
0"Eva, who'd fled to Brighton three years ago and hadn't spoken to her since, who'd stopped answering calls and deleted her social media, suddenly resurfacing wit…"
1"Just the silver chain and the crimson stone, pulsing now with a warmth that matched the rhythm of her own pulse, as if it had learned her heartbeat and decided …"
2"Bluebells, foxgloves, winter roses, all blooming in impossible profusion, their colours too vivid, too saturated, as if the Grove itself were a photograph that …"
3"The torch held steady, illuminating a circle of impossible flowers, and beyond that circle, darkness that seemed thicker than the night outside."
4"The sound came in irregular bursts, as if whatever made it were learning the rhythm, practising."
5"The torch swung with her, and for a moment she saw the standing stones again, but they were wrong now, tilted at angles that hurt to look at, their carved spira…"
6"But her feet moved without her decision, drawn by the sound, by the promise of another person in this place that had no business containing people."
7"And from the darkness beyond the standing stones, something else answered, something that had been waiting longer than the Grove, longer than the woman in white…"
8"Something that heard the Heartstone's pulse and came running, hungry and patient and utterly inhuman, and Rory understood with perfect, terrible clarity that sh…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"several people spoke (speak)"
1"the thing continued (continue)"
dialogueSentences11
tagDensity0.182
leniency0.364
rawRatio1
effectiveRatio0.364
83.2766%