Run: 2026-10-07-01M4ASQSTMXT8P0ZHE99XWPS13

Run Details

Duration:
2m 50s
Cost:
$0.023032
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 pendant burned. My fingers flew to the silver chain, but the crimson stone pulsed harder, throbbing against my sternum like a second heartbeat I had not invited. I stood between the ancient oak standing stones in the Fae Grove, my black hair whipping in a wind that touched nothing else, and the wildflowers carpeting the clearing glowed faintly, unnatural, blooming in the dark. Bioluminescent petals, pale as fish bellies, lined the path I had walked a hundred times in daylight, but tonight they breathed, expanding and contracting with a rhythm that matched the throb in my chest. I came here to close the door. The Hel portal had torn open in my bathroom at 3 AM, spilling frost across the tiles and filling the flat with a smell like burning hair and rotting lilies. Eva, my oldest friend, the one who had pulled me out of that Cardiff flat and into London, who had taught me to ride a bike and to file taxes and to recognise a narcissist before he could gaslight me, had texted me three days ago from this exact spot. She had dropped coordinates on the map, a warning scrawled in the margins: *Don't let them see you standing still.* Then silence. The pendant, pressed into my palm by a faceless stranger in a dream, had gone thermonuclear against my skin at midnight, pointing here, to this pocket between worlds where Richmond Park bent into something older and hungrier. My watch read 11:47. It had read 11:47 when I left the flat above Silas' bar. Three hours ago. The Grove swallowed sound, but tonight it sang back. A wet, clicking noise echoed from the tree line, rhythmic and wrong, like a tongue dragging across broken glass. I froze, my hand drifting to the crescent scar on my left wrist, a nervous habit from childhood accidents with hot irons. The sound came again, closer. Not an animal. Animals did not click like that. "Hello?" My voice cracked, the word dissolving into the dark. The flowers nearest my trainers twitched. I should have run. Cool-headed Rory, the girl who fled Cardiff, who out-thought Evan when he cornered me in our kitchen, who delivered dumplings through London rain without breaking a sweat, who studied law because she liked systems and order. But my trainers stayed rooted to the loam, because the pendant was screaming now, a high whine only I could hear, vibrating in my fillings, pulling me toward the centre of the stone circle. Something shifted at the edge of my vision. I spun, bright blue eyes straining against the dark. Nothing. Just the standing stones, black silhouettes against a sky that showed no stars, no moon, and the endless, impossible flowers that never died here, blooming year-round in defiance of seasons. The pillars themselves were massive, oak trunks turned to stone centuries ago, carved with spirals that seemed to writhe when I did not look directly at them. Moss clung to their northern faces, but the southern sides were bare, scorched black, as if something had burned against them recently. I touched the nearest stone. It was warm, pulsing with a slow, arrhythmic throb that matched the pendant against my chest. The oak stones hummed. I felt it in my molars, a resonance that made my teeth ache, that tasted of copper and old pennies. The ground beneath my feet grew warm, then cold, then warm again, flip-flopping between temperatures like a fever dream. My breath misted, though the air around me stayed still, trapped. Footsteps crunched behind me. I whirled. The path stood empty, but the mud told a different story. Fresh prints, deep and distinct, led from the tree line toward the stones. My size. My tread pattern. The Dunlop trainers I had bought last month. The mud was dark, rich, turned up in clods. The prints were fresh, the edges sharp, not yet collapsed. They led from the hawthorn bushes, directly to the centre of the circle. But I had walked here alone. I was certain of it. I had checked the car park, seen no other vehicles, heard no other footsteps on the gravel path. And yet, here were feet that matched mine, step for step, as if someone had followed me, or I had followed myself. The clicking stopped. Silence rushed in, thick and suffocating, pressing against my eardrums. I checked my watch again. 11:47. The second hand ticked forward, then jerked backward, stuttering like a broken film reel, tick-tocking in reverse. Time moved differently here. An hour inside could be minutes outside, or days. Eva had been gone three days. Three minutes here. Time was a folded thing in this place, a ribbon twisted back on itself. I was not alone. Cold certainty pooled in my stomach, sharp as broken glass. The pendant flared, crimson light spilling across the grass, illuminating the footprints. They ended three feet from where I stood. They had not circled me. They had not approached from behind. They had simply stopped. Waiting. Watching. Mimicking. "Show yourself." My voice did not shake. Pre-Law training, perhaps. Or sheer terror masquerading as courage, the same way I had faced my father's disappointment, the same way I had walked out on Evan. A whisper slithered through the flowers. Not words. A sound like wet leather splitting. The petals nearest my boots trembled, then turned. All of them. Hundreds of pale, glowing blooms rotating in unison, their faces tracking me, following my movement with the terrible patience of predators that had all the time in the world, because time here was a lie. The standing stones groaned. Stone on stone, grinding like teeth. The ancient oak pillars, older than London, older than the Welsh valleys where my mother taught, older than the Irish law courts where my father argued, began to shift. I watched, paralyzed, as the circle tightened, the gap between them narrowing, trapping me in the centre, the stones moving with a grinding, deliberate slowness. The footprints in the mud began to fill with water. Clear, dark water, rising from nowhere, erasing the evidence of whatever had walked there. The level rose, ankle-deep, freezing cold, soaking through my trainers. It should not be here. There was no stream. No rain. My phone buzzed in my pocket. I pulled it out, hands shaking now, the scar on my wrist tingling, hot and raised. No signal. Of course. The Grove ate signals, ate time, ate people. But the screen lit up with a message, glowing crimson to match the pendant. Unknown sender. Timestamp: 11:47. The same time. Always the same time. The text read: "You left the door open. Now we're coming through." The ground beneath my feet split open. Not metaphorically. The earth cracked, a fissure yawning wide, black and hungry, splitting the circle of stones. The pendant ripped against my chain, the silver snapping with a sound like a gunshot, the crimson stone flaring so bright it blinded me, searing my retinas. I stumbled back, but the stones were closing in, the circle shrinking to nothing, and from the crack in the world, something grey and wet and infinitely long reached up, fingers grasping for my ankle, pulling, dragging, and I screamed, and the Grove swallowed the sound, and the last thing I saw was the flowers turning their glowing faces to watch me die.
created_at"2026-10-07T09:05:01.283Z" 10/7/2026, 9:05:01 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency726
moderation_latency(null)
generation_time170283
tokens_prompt4387
tokens_completion9847
native_tokens_prompt4205
native_tokens_completion9652
native_tokens_completion_images(null)
native_tokens_reasoning8043
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"
usage0.02303208
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791363901-BQpZ4XcJqCIaByZy2vYM"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791363901-Loz8XxzTLhKBJeXcHFaj"
upstream_id"0c122fe7a1454e5581c342460c5f277c"
provider_responses
0
endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
id"0c122fe7a1454e5581c342460c5f277c"
is_byokfalse
latency705
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.02303208
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences3
tagDensity1
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1227
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
38.88% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1227
totalAiIsms15
found
0
word"pulsed"
count1
1
word"throb"
count2
2
word"silence"
count2
3
word"echoed"
count1
4
word"rhythmic"
count1
5
word"resonance"
count1
6
word"footsteps"
count2
7
word"stomach"
count1
8
word"whisper"
count1
9
word"trembled"
count1
10
word"searing"
count1
11
word"the last thing"
count1
highlights
0"pulsed"
1"throb"
2"silence"
3"echoed"
4"rhythmic"
5"resonance"
6"footsteps"
7"stomach"
8"whisper"
9"trembled"
10"searing"
11"the last thing"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences104
matches(empty)
60.44% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount3
narrationSentences104
filterMatches
0"see"
1"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences104
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen63
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords7
totalWords1227
ratio0.006
matches
0"Don't let them see you standing still."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions0
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1213
uniqueNames14
maxNameDensity0.33
worstName"Grove"
maxWindowNameDensity1
worstWindowName"Grove"
discoveredNames
Fae1
Grove4
Hel1
Cardiff2
London3
Richmond1
Park1
Three2
Rory1
Evan2
Dunlop1
Pre-Law1
Welsh1
Irish1
persons
0"Rory"
1"Evan"
places
0"Fae"
1"Grove"
2"Cardiff"
3"London"
4"Richmond"
5"Park"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences63
glossingSentenceCount1
matches
0"spirals that seemed to writhe when I did not look directly at them"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1227
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences104
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs25
mean49.08
std38.66
cv0.788
sampleLengths
03
195
2146
319
464
516
674
748
870
954
104
11122
123
1369
144
1548
1634
1760
1864
1945
2048
2111
2212
237
24107
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences104
matches
0"been gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs211
matches
0"was screaming"
1"were closing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences104
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount265
adjectiveStacks0
stackExamples(empty)
adverbCount2
adverbRatio0.007547169811320755
lyAdverbCount1
lyAdverbRatio0.0037735849056603774
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences104
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences104
mean11.8
std11.42
cv0.968
sampleLengths
03
125
236
334
47
530
650
722
837
94
1012
113
129
1319
1422
155
163
176
1810
196
204
2136
2234
238
249
251
2630
2727
2822
295
3016
314
3220
3319
3411
354
362
3711
3813
392
403
418
429
4310
4413
456
465
4718
4822
493
59.22% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4077669902912621
totalSentences103
uniqueOpeners42
74.07% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences90
matches
0"Just the standing stones, black"
1"Always the same time."
ratio0.022
86.67% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences90
matches
0"My fingers flew to the"
1"I stood between the ancient"
2"I came here to close"
3"She had dropped coordinates on"
4"My watch read 11:47."
5"It had read 11:47 when"
6"I froze, my hand drifting"
7"My voice cracked, the word"
8"I should have run."
9"I spun, bright blue eyes"
10"I touched the nearest stone."
11"It was warm, pulsing with"
12"I felt it in my"
13"My breath misted, though the"
14"My tread pattern."
15"They led from the hawthorn"
16"I was certain of it."
17"I had checked the car"
18"I checked my watch again."
19"I was not alone."
ratio0.333
48.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount74
totalSentences90
matches
0"The pendant burned."
1"My fingers flew to the"
2"I stood between the ancient"
3"Bioluminescent petals, pale as fish"
4"I came here to close"
5"The Hel portal had torn"
6"Eva, my oldest friend, the"
7"She had dropped coordinates on"
8"The pendant, pressed into my"
9"My watch read 11:47."
10"It had read 11:47 when"
11"The Grove swallowed sound, but"
12"A wet, clicking noise echoed"
13"I froze, my hand drifting"
14"The sound came again, closer."
15"Animals did not click like"
16"My voice cracked, the word"
17"The flowers nearest my trainers"
18"I should have run."
19"Something shifted at the edge"
ratio0.822
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences90
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount11
matches
0"Bioluminescent petals, pale as fish bellies, lined the path I had walked a hundred times in daylight, but tonight they breathed, expanding and contracting with …"
1"Eva, my oldest friend, the one who had pulled me out of that Cardiff flat and into London, who had taught me to ride a bike and to file taxes and to recognise a…"
2"Cool-headed Rory, the girl who fled Cardiff, who out-thought Evan when he cornered me in our kitchen, who delivered dumplings through London rain without breaki…"
3"But my trainers stayed rooted to the loam, because the pendant was screaming now, a high whine only I could hear, vibrating in my fillings, pulling me toward th…"
4"Just the standing stones, black silhouettes against a sky that showed no stars, no moon, and the endless, impossible flowers that never died here, blooming year…"
5"Moss clung to their northern faces, but the southern sides were bare, scorched black, as if something had burned against them recently."
6"It was warm, pulsing with a slow, arrhythmic throb that matched the pendant against my chest."
7"I felt it in my molars, a resonance that made my teeth ache, that tasted of copper and old pennies."
8"Hundreds of pale, glowing blooms rotating in unison, their faces tracking me, following my movement with the terrible patience of predators that had all the tim…"
9"I pulled it out, hands shaking now, the scar on my wrist tingling, hot and raised."
10"I stumbled back, but the stones were closing in, the circle shrinking to nothing, and from the crack in the world, something grey and wet and infinitely long re…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"My voice cracked, the word dissolving into the dark"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
82.2723%