Run: 2026-10-07-01M4ASS8G9EMAZKYVJCD70KT6Z

Run Details

Duration:
3m 58s
Cost:
$0.027598
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
Aurora scraped the frost from the seventh stone and counted again. Six stones ringed the clearing. The seventh stood apart, tilted at an angle that made her teeth ache, its surface slick with moss that glowed faintly green. She had come to the Grove because the Heartstone demanded it. The crimson gemstone, thumbnail-sized and set in silver, had grown warm against her sternum an hour ago, then hot, then burning. Now it throbbed in rhythm with her pulse and dragged her through the dark undergrowth of Richmond Park until she found the ancient oak standing stones. She had read about this place in her grandmother's journals, the ones tucked in the Cardiff attic. A pocket between Earth and the Fae realm. Time moved differently here. An hour inside could be minutes or days outside. The standing stones were ancient oak, petrified and grey, ringed in a circle that predated the park, predated London itself. Carvings spiralled up their surfaces, Celtic knots that seemed to move when she wasn't looking directly at them. The seventh stone, the tilted one, bore no carvings. Only smooth, wet moss that glowed with that faint green light. The silence here was absolute. No owls called. No foxes screamed. Even the distant hum of the North Circular, usually a constant drone from her flat above Silas's bar, had vanished. The quiet pressed against her eardrums, a physical weight that made her swallow repeatedly. The frost crunched under her boots, but the sound returned twice. Once from beneath her feet. Once from three paces behind. She stopped. Held her breath. The crunching stopped. Then resumed, matching her pace exactly, as if something walked in her shadow. Aurora turned. The beam of her phone torch cut through the dark, illuminating only bare branches and frost-heavy bracken. Nothing moved. Yet the crunching continued, circling her, always maintaining the distance. She touched the crescent-shaped scar on her left wrist, a nervous habit from childhood. The skin there felt numb. Her knees ached from kneeling. She stood, joints popping, and flexed her fingers. The cold had numbed her toes, but the pendant's heat kept her core warm, a furnace in her chest that refused to cool. Her heart hammered a tick-tock rhythm against her ribs. Her phone read 03:33. She had left her flat at midnight. Three and a half hours had vanished while she walked, though her legs ached with only twenty minutes of exertion. She checked her wristwatch. The hands spun backwards, then forwards, settling on a time that didn't exist. The wildflowers shouldn't have been blooming. Bluebells and foxgloves crowded the frostbitten earth, their petals unfurling in the dark. White bluebell bells drooped over centres dark as bruises. Foxgloves stood three feet tall, their spotted throats open like mouths. She brushed past a stem. It was warm, pulsing with a slow, arrhythmic throb. They smelled of honey and rotting meat. The scent clung to her coat, sweet and cloying. Her breath plumed in front of her, but the vapour didn't dissipate. It hung in the air, forming shapes that almost looked like letters, like words in a language she almost recognised from her father's law books, from her mother's Welsh poetry. The Heartstone burned against her skin. She pulled it from beneath her coat. The deep crimson gemstone, given to her by an unknown benefactor three weeks ago in a plain envelope slipped under her door, had never been warm before. Now it blazed, radiating heat that scorched her skin through her jumper. The silver chain, delicate and antique-looking, had turned red-hot, glowing like a filament. It cast red shadows across the stones. It pointed, she realised, not at the ground, but at the gap between the sixth and seventh stones. A gap that hadn't existed when she arrived. The air there shimmered like heat on tarmac, though the night was freezing. Eva had disappeared three days ago. The last text read: Don't follow. The Heartstone had been cold until tonight, then warm, then burning. It had brought Aurora here, to this clearing, to this moment. She needed to find her friend. She needed to close whatever door Eva had opened. Or she needed to escape through it, away from Evan, away from the threats that had followed her from Cardiff to London. A whisper slithered through the bracken. Not wind. Words. Her name, but wrong. "Laila." The syllables tasted of copper. Footsteps. Closer now. Not echoing. Real. Heavy. Dragging. Wet. Aurora spun, her torch beam swinging wildly. The light caught the moss on the stones, making it pulse like a heartbeat. A figure stood between the oaks. Tall. Thin. Its head tilted at an angle that suggested broken vertebrae. It wore clothes that had been a suit once, expensive and bespoke, now mould and moss. The shoes were Italian leather, green with decay. It moved with a jerky, stop-start motion, like a marionette with tangled strings. Its neck craned, vertebrae clicking like a rosary. It didn't blink. Its eyes reflected her torchlight with a yellow gleam, animal and ancient. "I know you're here," Aurora said. Her voice didn't echo. It hung in the air, thick and dead. The figure smiled. Too many teeth. It raised a hand, not to attack, but to beckon. The pendant blazed brighter. The crimson light intensified, revealing the standing stones in stark relief. The moss pulsed. The gap between the sixth and seventh stones widened. A staircase spiralled down into darkness, steps carved from something that resembled bone, or perhaps stone worn smooth by centuries. At the bottom, a pool of water reflected nothing, a black mirror that rippled without wind. From the depths came the sound of dripping. Drip. Drop. Drip. Drop. And beneath the water, a voice sang in a language that predated Welsh, predated Irish, predated the Celts themselves. Another whisper, closer. "Malphora." The name resonated in her bones, in the scar on her wrist, in the blood that ran Irish and Welsh through her veins. "Show yourself," Aurora commanded. She gripped the pendant, but the silver chain had grown hotter, searing her fingers. She couldn't let go. The pain anchored her, kept her present. The figure stepped forward. The ground beneath it didn't crunch. The frost retreated, leaving bare earth that steamed. The gap between the stones rippled. A shape pressed against the membrane from the other side. Tall. Familiar. Eva's silhouette, but her head hung at the wrong angle, her limbs too long, her joints bending backwards. Eva. The membrane tore. Eva stepped through. She wore the blue coat Aurora had bought her last Christmas, but it hung wrong, too big, as if Eva had shrunk inside it or the coat had grown. Her eyes were black, pupils dilated to swallow the whites, reflecting the red glow of the Heartstone like a cat's eyes in the dark. She smiled, and her teeth were too sharp, filed to points. "You came," she said. Her voice was layered, two voices speaking at once, Eva's and something older, something that had worn Eva's face like a mask. "I knew you would." Behind her, the portal tore wider, a jagged gash in reality, and the things that had been waiting in the dark between worlds began to crawl out. The first one emerged on six legs, or perhaps eight, its body segmented like an insect but the size of a large dog. Its mandibles clicked with a wet, chitinous sound. Behind it came others, shapes that had no business existing in three dimensions, their angles wrong, their shadows stretching towards the light instead of away from it.
created_at"2026-10-07T09:05:49.08Z" 10/7/2026, 9:05:49 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency758
moderation_latency(null)
generation_time237480
tokens_prompt4387
tokens_completion13543
native_tokens_prompt4205
native_tokens_completion12877
native_tokens_completion_images(null)
native_tokens_reasoning11646
native_tokens_cached3564
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"
usage0.02759829
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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api_type"completions"
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upstream_id"ce1cb3341734491c853548de0b1845d9"
provider_responses
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is_byokfalse
latency741
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.02759829
cache_discount0.00434808
upstream_inference_cost0
provider_name"Mistral"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences6
tagDensity0.833
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1266
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)
28.91% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1266
totalAiIsms18
found
0
word"throbbed"
count1
1
word"pulse"
count2
2
word"silence"
count1
3
word"weight"
count1
4
word"throb"
count1
5
word"shimmered"
count1
6
word"whisper"
count2
7
word"footsteps"
count1
8
word"echoing"
count1
9
word"echo"
count1
10
word"stark"
count1
11
word"pulsed"
count1
12
word"depths"
count1
13
word"resonated"
count1
14
word"searing"
count1
15
word"familiar"
count1
highlights
0"throbbed"
1"pulse"
2"silence"
3"weight"
4"throb"
5"shimmered"
6"whisper"
7"footsteps"
8"echoing"
9"echo"
10"stark"
11"pulsed"
12"depths"
13"resonated"
14"searing"
15"familiar"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"hung in the air"
count2
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences135
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences135
filterMatches(empty)
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)
analyzedSentences136
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1266
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1252
uniqueNames22
maxNameDensity0.64
worstName"Eva"
maxWindowNameDensity3
worstWindowName"Eva"
discoveredNames
Grove1
Heartstone4
Richmond1
Park1
Cardiff2
Earth1
Fae1
London2
Celtic1
North1
Circular1
Silas1
Welsh3
Don1
Aurora7
Eva8
Evan1
Footsteps1
Italian1
Irish2
Celts1
Christmas1
persons
0"Heartstone"
1"Silas"
2"Aurora"
3"Eva"
4"Evan"
places
0"Grove"
1"Richmond"
2"Park"
3"Cardiff"
4"London"
globalScore1
windowScore0.667
90.48% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount2
matches
0"knots that seemed to move when she wasn't looking directly at them"
1"looked like letters, like words in a lang"
42.02% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.58
wordCount1266
matches
0"not at the ground, but at the gap between the sixth"
1"not to attack, but to beckon"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences136
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs30
mean42.2
std31.73
cv0.752
sampleLengths
038
196
258
345
421
55
63
713
850
945
1048
1169
1242
13111
1471
1519
169
1721
1878
1918
2016
2194
2227
2329
2418
2536
261
273
2897
2985
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences135
matches
0"was layered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs222
matches
0"wasn't looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences136
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1259
adjectiveStacks1
stackExamples
0"quiet pressed against her"
adverbCount46
adverbRatio0.03653693407466243
lyAdverbCount10
lyAdverbRatio0.007942811755361398
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences136
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences136
mean9.31
std7.21
cv0.774
sampleLengths
011
15
222
311
421
526
617
78
84
99
1020
1118
129
1311
145
153
163
1720
1814
1911
205
215
222
233
243
2513
262
2717
282
2910
3014
315
325
338
3423
359
364
377
3820
394
4013
416
4213
439
4411
455
469
477
489
4912
50.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.375
totalSentences136
uniqueOpeners51
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences111
matches
0"Only smooth, wet moss that"
1"Even the distant hum of"
2"Once from beneath her feet."
3"Once from three paces behind."
4"Then resumed, matching her pace"
5"Too many teeth."
ratio0.054
86.67% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences111
matches
0"She had come to the"
1"She had read about this"
2"She touched the crescent-shaped scar"
3"Her knees ached from kneeling."
4"She stood, joints popping, and"
5"Her heart hammered a tick-tock"
6"Her phone read 03:33."
7"She had left her flat"
8"She checked her wristwatch."
9"She brushed past a stem."
10"It was warm, pulsing with"
11"They smelled of honey and"
12"Her breath plumed in front"
13"It hung in the air,"
14"She pulled it from beneath"
15"It cast red shadows across"
16"It pointed, she realised, not"
17"It had brought Aurora here,"
18"She needed to find her"
19"She needed to close whatever"
ratio0.333
54.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount90
totalSentences111
matches
0"Aurora scraped the frost from"
1"The seventh stood apart, tilted"
2"She had come to the"
3"The crimson gemstone, thumbnail-sized and"
4"She had read about this"
5"A pocket between Earth and"
6"Time moved differently here."
7"An hour inside could be"
8"The standing stones were ancient"
9"Carvings spiralled up their surfaces,"
10"The seventh stone, the tilted"
11"The silence here was absolute."
12"The quiet pressed against her"
13"The frost crunched under her"
14"The crunching stopped."
15"The beam of her phone"
16"She touched the crescent-shaped scar"
17"The skin there felt numb."
18"Her knees ached from kneeling."
19"She stood, joints popping, and"
ratio0.811
90.09% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences111
matches
0"Now it throbbed in rhythm"
1"Now it blazed, radiating heat"
ratio0.018
32.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount8
matches
0"Only smooth, wet moss that glowed with that faint green light."
1"The quiet pressed against her eardrums, a physical weight that made her swallow repeatedly."
2"Now it blazed, radiating heat that scorched her skin through her jumper."
3"A staircase spiralled down into darkness, steps carved from something that resembled bone, or perhaps stone worn smooth by centuries."
4"She wore the blue coat Aurora had bought her last Christmas, but it hung wrong, too big, as if Eva had shrunk inside it or the coat had grown."
5"Her voice was layered, two voices speaking at once, Eva's and something older, something that had worn Eva's face like a mask."
6"Behind her, the portal tore wider, a jagged gash in reality, and the things that had been waiting in the dark between worlds began to crawl out."
7"Behind it came others, shapes that had no business existing in three dimensions, their angles wrong, their shadows stretching towards the light instead of away …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences6
tagDensity0.333
leniency0.667
rawRatio0
effectiveRatio0
86.7687%