Run: 2026-10-06-01M48VXZ4368VGSYTATQHK369E

Run Details

Duration:
53.7s
Cost:
$0.005835
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 pressed her palm flat against the silver chain, feeling the crimson gem pulse beneath her fingers like a second heart. Three beats. Pause. Three beats. The rhythm matched nothing in her chest, nothing human. "Bloody hell," she whispered. The standing stones of the Fae Grove rose from the darkness around her, ancient oaks twisted into shapes that suggested doorways, arches, things that had once been trees and were no longer. Richmond Park lay silent beyond them, but silence here meant something different. The kind that pressed against her eardrums and made her swallow to pop them. She had come for Eva. Her best friend had sent a message three days ago, the last before her phone died: *Come to the grove. Midnight. Don't tell anyone. I found something.* Then nothing. No read receipts. No missed calls. Just the silence of a phone that had stopped being a phone. Rory had known better. Everyone knew better. The Grove was Isolde's territory, and Isolde did not suffer trespassers kindly. But Eva had been drowning, and Rory had always been the one to throw the rope. The pendant pulsed again. Warmer now. Hungry. She stepped between the stones. The air changed immediately. Not temperature, exactly, but pressure. The weight of a held breath. Wildflowers bloomed at her feet in colours that had no names, their petals shifting when she wasn't looking directly at them. She kept her eyes forward, on the path that hadn't existed moments before, a ribbon of pale earth winding deeper into the grove. Footsteps behind her. She spun. Nothing. Only flowers, only dark, only the particular silence of a place that had forgotten how to be a forest. "Hello?" Her voice came out wrong, flattened, as if the air itself resisted carrying sound. The pendant burned hot. Rory clutched it through her shirt, wincing at the heat, and kept walking. The path forked. She chose left, then right, then left again, following the pull of the pendant like a compass needle seeking north. The grove rearranged itself around her, paths closing behind, new ones opening. She passed the same gnarled hawthorn three times, each version slightly wrong, its blossoms black instead of white, white instead of black, then gone entirely, replaced by a stone that wept sap. Time moved strangely here. She knew this. An hour inside could be minutes outside, or days. She had no way to tell which it was. Her phone showed 11:47 PM, but the numbers flickered when she glanced at them, 11:47 becoming 11:74 becoming something with too many digits to read. Something moved at the edge of her vision. Rory stopped. Held her breath. The grove held its breath with her. A shape detached itself from the darkness between two oaks. Tall. Wrong proportions, limbs too long, joints bending backwards. It stood perfectly still, watching her with eyes that reflected no light, only swallowed it. She did not run. Running was how you died in places like this. She had read the stories, heard the warnings from Silas when he was sober enough to speak in complete sentences. The Grove fed on fear, on panic, on the particular terror of prey that knew it was prey. "Isolde?" The name tasted of ash. The thing tilted its head. The motion was too slow, too deliberate, a predator calculating angles. It took one step forward, and the ground beneath its foot bloomed with flowers that screamed when it lifted its weight again. Rory reached for the pendant. The crimson gem flared, and the thing recoiled, pressing itself flat against the nearest oak. The bark split around it, wood knitting over its form like a mouth closing. "Not yours," Rory said. Her voice steadied. "I'm not yours." She walked past it. The flowers stopped screaming. The thing did not follow, but she felt its attention on her back, patient and ancient and utterly inhuman. The grove opened into a clearing she didn't remember from any map, any story, any warning. A circle of mushrooms, pale and luminous, ringed a figure seated on a stone that might have been a throne or a grave marker. Eva. Rory's heart hammered against her ribs, a trapped bird. "Eva!" Her friend did not move. Her head hung forward, black hair obscuring her face. The mushrooms pulsed in rhythm with the Heartstone pendant, crimson light washing over the clearing in slow waves. Rory ran the last twenty feet. Grabbed Eva's shoulders. Shook her. "Eva, wake up. Eva, it's me, it's Rory, I came, I came like you asked, please—" Eva's head snapped up. Her eyes were wrong. Too wide, pupils blown to black pools that drank the mushroom light. Her mouth opened, and what came out was not her voice, not any voice Rory recognised, but a sound like wind through dead leaves, like a door opening on rusted hinges, like something learning to shape itself into speech. "She's not here," Eva's mouth said. "She never was. You brought her the pendant. You brought her the key. The Grove thanks you for the offering." Rory stumbled backward. The mushrooms brightened, their pale caps splitting to reveal rows of tiny teeth. "What are you?" Her hand found the pendant. It burned, seared, but she did not let go. "Where is she? Where's Eva?" The thing wearing Eva's face smiled. Eva's smile, Rory's friend's particular crooked grin, stretched too wide across too many teeth. "She's been here three days. Three days of your time. She's been waiting for you to bring the rest." The smile did not waver. "The pendant opens doors. You knew that. Everyone knows that. You just didn't know which doors." Behind Eva, the air tore open. Not a door. A wound. A rip in the fabric of the grove, and through it Rory saw not Richmond Park, not London, not any place she recognised, but a vast darkness filled with shapes that moved with purpose, with hunger, with the patient attention of things that had waited since before human memory. The Hel portal. The pendant had been leading her to it. Had been warming, pulsing, singing her toward it since the moment it appeared on her doorstep three weeks ago, silver chain and crimson stone and no note, no explanation, only the faint warmth that had never quite gone cold. "You gave it to her," Rory whispered. "You gave her the pendant. That's why she came here. That's why she—" "She wanted to see you," Eva-thing said, and the voice layered over itself, harmonics of something beneath, something vast. "She wanted to show you what she found. What she became. The Grove offers transformation, little human. She accepted. You will too. The pendant has chosen you. The pendant always chooses." The portal widened. Shapes pressed against it from the other side, flattening against the membrane of torn air, leaving smears of darkness that did not fade. Rory felt the pendant's pull intensify, a physical tug at her sternum, at her mind, at something deeper that she didn't have a name for. It wanted to be through. It wanted to be home. It had been waiting in her world, in the human world, for someone to carry it back, for someone to open the way. She had been the key all along. Eva-thing stood. The mushrooms parted for her, their teeth clicking in rhythm. She moved toward Rory with Eva's walk, Eva's sway, Eva's particular way of favouring her left hip from an old injury that had never quite healed. "You could stay," Eva-thing said. "The Grove is kind to those who accept its gifts. She is happy here. She is more than she was. You could be more too." The portal screamed. Not a sound, exactly, but a pressure, a wrongness that made Rory's teeth ache and her vision swim with colours that had no names. Through it, she saw them. The Hel. The things that had been before humanity, that had shaped the dark places of the world, that had waited in the spaces between stars for the doors to open. The pendant burned. Rory clutched it, and for a moment she considered letting go, considered letting it pull her through, considered becoming more, becoming other, becoming anything that wasn't this, wasn't trapped in a grove that breathed and watched and hungered. Eva-thing reached her. Cold fingers, wrong temperature, gripped her wrist. The crescent scar on Rory's left wrist, the one from the childhood accident, the one she had never thought about in years, began to ache. To burn. To match the pendant's heat. "Let go," Eva-thing whispered, and the voice was almost Eva's, almost her friend, almost human. "Let it take you. The Grove will keep you safe. The Grove will keep you forever." Rory looked at the portal. At the things pressing against it, flattening themselves against the tear, waiting. She thought of Cardiff. Of her father's disappointed face when she'd left Pre-Law. Of her mother's Welsh lullabies, sung badly, sung with love. Of Silas pouring her a pint at 2 AM when Evan had finally crossed a line she couldn't uncross. Of Yu-Fei Cheung's Golden Empress, the greasy comfort of late-night dumplings, the way the restaurant smelled of star anise and possibility. She thought of Eva, who had fled to London first, who had sent for her when the darkness came, who had known, in the last moments of herself, that Rory would come. The pendant pulsed. Three beats. Pause. Three beats. Rory smiled. It was not a happy smile. It was the smile of someone who had found a way out of a trap, who had seen the shape of the cage and knew which bars were weak. She grabbed Eva-thing's wrist. Both wrists, the scar pressed against cold wrong flesh, and she pulled. Not away. Through. The Grove screamed. The mushrooms shrieked. The portal tore wider, and Rory stepped into it, dragging Eva-thing with her, dragging the thing that wore her friend's face into the darkness between worlds, into the space where the Hel waited with open mouths and patient hunger. The pendant flared once, blinding, and then— Silence. Then: the sound of running water, of a city waking, of a phone buzzing with a message from a number she didn't recognise. *Rory. I'm home. I'm safe. Thank you for coming. I love you. — Eva* She stood in Richmond Park, at the edge of the Grove, the standing stones dark and ordinary in the grey light of dawn. Her clothes were torn. Her wrists burned. The pendant lay cold against her chest, inert, spent. Behind her, the oaks whispered. Ahead, London waited, indifferent and alive and full of doors that stayed closed. Rory walked toward the road. She did not look back. But she kept her hand on the pendant, and she felt, beneath the cold silver, the faintest warmth. A heartbeat. A promise. The Grove was not finished with her. The Grove was never finished. She would be ready.
created_at"2026-10-06T15:04:51.607Z" 10/6/2026, 3:04:51 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency652
moderation_latency(null)
generation_time53656
tokens_prompt4387
tokens_completion2699
native_tokens_prompt4217
native_tokens_completion2466
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"
usage0.00583526
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791299091-McYVa2hIUipibHBlFVRA"
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api_type"completions"
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upstream_id"5aaeb21b278d4c3f84537290eabc5761"
provider_responses
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endpoint_id"540e63db-cc7c-4556-bb67-d449579bcf1a"
id"5aaeb21b278d4c3f84537290eabc5761"
is_byokfalse
latency652
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00583526
cache_discount0.00437248
upstream_inference_cost0
provider_name"Mistral"
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data_region"global"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences21
tagDensity0.524
leniency1
rawRatio0
effectiveRatio0
91.83% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1835
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"perfectly"
count1
2
adverb"utterly"
count1
highlights
0"slightly"
1"perfectly"
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)
53.68% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1835
totalAiIsms17
found
0
word"pulse"
count1
1
word"silence"
count4
2
word"pulsed"
count3
3
word"weight"
count2
4
word"footsteps"
count1
5
word"flickered"
count1
6
word"predator"
count1
7
word"calculating"
count1
8
word"grave"
count1
9
word"warmth"
count2
highlights
0"pulse"
1"silence"
2"pulsed"
3"weight"
4"footsteps"
5"flickered"
6"predator"
7"calculating"
8"grave"
9"warmth"
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
emotionTells1
narrationSentences171
matches
0"g with love"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences171
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences181
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords25
totalWords1836
ratio0.014
matches
0"Come to the grove. Midnight. Don't tell anyone. I found something."
1"Rory. I'm home. I'm safe. Thank you for coming. I love you. — Eva"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions93
wordCount1644
uniqueNames22
maxNameDensity1.52
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Eva"
discoveredNames
Heartstone2
Rory25
Fae1
Grove7
Park3
Eva22
Isolde2
Silas2
Richmond3
London3
Hel3
Eva-thing7
Cardiff1
Pre-Law1
Welsh1
Evan1
Yu-Fei1
Cheung1
Golden1
Empress1
Silence1
Three4
persons
0"Rory"
1"Eva"
2"Isolde"
3"Silas"
4"Hel"
5"Eva-thing"
6"Evan"
7"Cheung"
places
0"Fae"
1"Grove"
2"Park"
3"Richmond"
4"London"
5"Cardiff"
globalScore0.74
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount0
matches(empty)
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches7
per1kWords3.813
wordCount1836
matches
0"Not temperature, exactly, but pressure"
1"not her voice, not any voice Rory recognised, but a sound like wind through dead leaves, like a door opening o"
2"not any voice Rory recognised, but a sound like wind through dead leaves, like a door opening o"
3"not Richmond Park, not London, not any place she recognised, but a vast darkness filled with shapes"
4"not London, not any place she recognised, but a vast darkness filled with shapes"
5"not any place she recognised, but a vast darkness filled with shapes"
6"Not a sound, exactly, but a pressure, a wrongness"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences181
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean26.61
std18.67
cv0.702
sampleLengths
07
135
24
358
45
547
635
77
85
959
105
1120
1215
1317
1467
1550
168
1712
1834
1951
206
2138
2234
2310
2427
2550
261
2732
2811
2916
304
3155
3226
3316
3422
3520
3640
376
3854
3950
4020
4150
4226
4358
447
4538
4630
4763
4841
4942
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences171
matches
0"were torn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs300
matches
0"wasn't looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences181
ratio0.011
matches
0"The pendant flared once, blinding, and then—"
1"— Eva*"
82.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1653
adjectiveStacks3
stackExamples
0"lay silent beyond them,"
1"against cold wrong flesh,"
2"lay cold against her"
adverbCount50
adverbRatio0.030248033877797943
lyAdverbCount17
lyAdverbRatio0.0102843315184513
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences181
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences181
mean10.14
std9.5
cv0.937
sampleLengths
07
121
22
31
42
59
64
732
812
914
105
1120
121
133
145
153
163
1712
184
193
2012
2116
224
232
241
255
264
275
286
2921
3023
313
322
331
3419
3515
364
3713
383
3920
4012
4132
424
433
449
459
4625
478
482
493
33.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats30
diversityRatio0.2983425414364641
totalSentences181
uniqueOpeners54
72.46% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences138
matches
0"Just the silence of a"
1"Only flowers, only dark, only"
2"Too wide, pupils blown to"
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences138
matches
0"She pressed her palm flat"
1"She had come for Eva."
2"Her best friend had sent"
3"I found something.* Then nothing."
4"She stepped between the stones."
5"She kept her eyes forward,"
6"Her voice came out wrong,"
7"She chose left, then right,"
8"She passed the same gnarled"
9"She knew this."
10"She had no way to"
11"Her phone showed 11:47 PM,"
12"It stood perfectly still, watching"
13"She did not run."
14"She had read the stories,"
15"It took one step forward,"
16"Her voice steadied."
17"She walked past it."
18"Her friend did not move."
19"Her head hung forward, black"
ratio0.29
61.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount110
totalSentences138
matches
0"The Heartstone pendant burned against"
1"She pressed her palm flat"
2"The rhythm matched nothing in"
3"The standing stones of the"
4"Richmond Park lay silent beyond"
5"The kind that pressed against"
6"She had come for Eva."
7"Her best friend had sent"
8"I found something.* Then nothing."
9"Rory had known better."
10"Everyone knew better."
11"The Grove was Isolde's territory,"
12"The pendant pulsed again."
13"She stepped between the stones."
14"The air changed immediately."
15"The weight of a held"
16"Wildflowers bloomed at her feet"
17"She kept her eyes forward,"
18"Footsteps behind her."
19"Her voice came out wrong,"
ratio0.797
36.23% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences138
matches
0"To match the pendant's heat."
ratio0.007
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount14
matches
0"The standing stones of the Fae Grove rose from the darkness around her, ancient oaks twisted into shapes that suggested doorways, arches, things that had once b…"
1"Wildflowers bloomed at her feet in colours that had no names, their petals shifting when she wasn't looking directly at them."
2"Only flowers, only dark, only the particular silence of a place that had forgotten how to be a forest."
3"Rory clutched it through her shirt, wincing at the heat, and kept walking."
4"She passed the same gnarled hawthorn three times, each version slightly wrong, its blossoms black instead of white, white instead of black, then gone entirely, …"
5"It stood perfectly still, watching her with eyes that reflected no light, only swallowed it."
6"It took one step forward, and the ground beneath its foot bloomed with flowers that screamed when it lifted its weight again."
7"A rip in the fabric of the grove, and through it Rory saw not Richmond Park, not London, not any place she recognised, but a vast darkness filled with shapes th…"
8"Had been warming, pulsing, singing her toward it since the moment it appeared on her doorstep three weeks ago, silver chain and crimson stone and no note, no ex…"
9"Shapes pressed against it from the other side, flattening against the membrane of torn air, leaving smears of darkness that did not fade."
10"She moved toward Rory with Eva's walk, Eva's sway, Eva's particular way of favouring her left hip from an old injury that had never quite healed."
11"Rory clutched it, and for a moment she considered letting go, considered letting it pull her through, considered becoming more, becoming other, becoming anythin…"
12"The portal tore wider, and Rory stepped into it, dragging Eva-thing with her, dragging the thing that wore her friend's face into the darkness between worlds, i…"
13"Ahead, London waited, indifferent and alive and full of doors that stayed closed."
34.09% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount2
matches
0"Eva-thing said, and the voice layered over itself, harmonics of something beneath, something vast"
1"Eva-thing whispered, and the voice was almost Eva's, almost her friend, almost human"
7.14% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount3
fancyTags
0"she whispered (whisper)"
1"Rory whispered (whisper)"
2"Eva-thing whispered (whisper)"
dialogueSentences21
tagDensity0.333
leniency0.667
rawRatio0.429
effectiveRatio0.286
76.8547%