Run: 2026-10-13-01M4TBPE3ZR017YCDVJJYT0S1A

Run Details

Duration:
2m 27s
Cost:
$0.133092
Provider:
Fireworks

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 delivery address didn't exist. Rory checked it three times, one foot hooked on the pedal, phone glare stinging her eyes at the Richmond Park gate. The pin sat on open grass half a mile from the nearest road. No building. No postcode. Just a note typed beneath the order in capitals: BRING IT TO THE STONES. LEAVE IT INSIDE THE RING. SIXTY POUND TIP. CASH. "Not this one." Yu-Fei had slapped the ticket flat on the counter of the Golden Empress. "Park address. Middle of the night. No." "Sixty quid, Yu-Fei. That's most of rent." "That's bait." Rory had taken the bag anyway. Silas didn't accept bait as currency, and his envelope was due Friday. The gate should have been locked. The park shut at dusk; she'd cycled past enough evenings to know the chain, the padlock, the rangers' signs. Tonight the chain hung in a neat loop and the padlock lay open on its hasp, hooked there like a tongue. Someone had wanted it to look closed. She wheeled the bike in, because rent was rent. The path carried her a few hundred metres before it dwindled to a deer track. She left the bike against a beech, looped the lock through the frame out of habit, hooked the insulated bag over one shoulder, thumbed on the phone torch, and walked. The wrongness arrived quietly, the way wrongness does. First, no planes. Richmond sat under the Heathrow approach. She had never stood anywhere in this borough without an engine overhead, that low constant grumble you stopped hearing after a week. Tonight the sky held nothing. No road hum from the A307 either. The dark had a padded quality, like the inside of a cupboard. Second, the flowers. Her torch beam combed the grass and lit drifts of them, campion and foxglove, open and dewed, in the second week of November. Their faces turned after the light passed. Third, the pendant. It gave a slow throb of warmth against her sternum, like a coal someone had breathed on. Rory stopped walking. The heartstone had come in the post six months ago, no note, no sender, a thumbnail of deep crimson on a silver chain, and in six months it had done nothing but sit there looking expensive. Now it pulsed in time with her pulse, and it pulled, faint but insistent, the way a compass needle pulls north. She should have left. She noted that the way you note a fact about someone else, and kept walking, because the pull had a direction and the direction had to be the stones, and the stones were the job. Drop the bag, photograph it, go. London ran on weird orders. Then she heard the humming. It threaded through the oaks ahead, thin as a hairline crack, and it went sing-song in a tune she knew down to the bone. Suo Gân. Her mother's lullaby, the Welsh one, the one Jennifer Carter used to hum while hanging washing, while marking exercise books, while pretending not to watch the drive for Brendan's car. Rory had not heard it in years. She had never once heard it in England. Her feet had stopped without asking her. She stood still and listened to her own heart, and under it, soft as felt, came the press of feet in leaf litter. One. Two. Stop. A half-beat late, like an echo that hadn't learnt the distance yet. She walked on. The steps walked on. She stopped short. The steps took one extra, small and apologetic, like a dance partner who'd trodden on a toe. Right. Cool-headed. She turned a slow circle with the torch. Grass. Oaks. A fallow deer between two trunks, antlered, mid-graze, watching her. Deer in Richmond were furniture; she'd dodged a hundred on the roads. She swept the light past and kept walking, and when she swept it back the deer stood ten metres closer, still mid-graze, still watching, jaws working on nothing. Its eyes caught the beam and shone green, and then, though the beam held steady, stopped shining at all, the way a television goes dark. Clip-clop. Hooves on stone, unhurried, off to her left. The path was grass. The stones rose out of the dark ahead. There were seven, or nine; the count slid each time she took it. Weathered grey, each one gripped at the base by the roots of an ancient oak, so that stone and tree had grown into a single knuckled fist. Inside the ring the grass lay flattened in a slow spiral. The air stood warmer there. The wildflowers grew so thick they crackled underfoot like frost. The pendant had gone from warm to hot. It glowed through her shirt, a seam of crimson at her collarbone, pulsing faster than her heart now, towing her towards the ring. Under her watch strap, the crescent scar on her left wrist itched for the first time since childhood. She checked the phone to log the delivery. 02:17. It had been 23:38 at the gate, twelve minutes ago by her own counting. The screen flickered, refreshed, and said 23:39 with the smugness of a caught liar. No signal. The order screen spun its little wheel forever. "Rory." Eva's voice. Bright, warm, out there in the black between the oaks, and wrong, pressed flat like a recording played through a wall. Eva was in Brixton. Eva was asleep with earplugs in and the telly murmuring. Rory knew the shape of Eva's voice the way she knew her own hands, and this was a tracing of it. She did not answer. Something in her, older than Cardiff, older than the stones, said don't give it your name back. "Rory." Closer. "Laila." Her courier name, the one on the app, in Yu-Fei's voice. "Aurora." Her father's, soft the way it only went in court. It was reading her. It was working down the list like a man working through a bunch of keys. Job. Do the job. She crossed into the ring, and the warmth closed over her like a held breath, and she set the bag on the flat stone at the spiral's heart, and photographed it with a phone that had forgotten what time was, and turned to go. The chewing started behind her. Wet. Unhurried. Open-mouthed. The smell of sesame oil and hot grease cut through the flower-sweet air. She looked back. The bag was gone. On the flat stone sat the receipt, weighed down with coins, old gold, cold when she touched one, stamped with the profile of a king she didn't know, a king with antlers. Sixty of them. Payment rendered. The chewing came from somewhere without a body, and when her torch found it, it stopped, politely, the way you stop when someone enters the room. She left the coins. Bait, Yu-Fei had said, and Rory was done arguing. She walked out of the ring the way she'd come in, counting her own steps, thirty-one, and at thirty-one there should have been the deer track, and there was grass, unbroken, dewed, shining faintly under a moon she couldn't find. Her footprints in the dew led the other way. They led back into the ring. She stood at the end of them, in her own shoes, watching her own trail come walking home to her. The phone died in her hand. Clip-clop, nearer now. The humming again, Suo Gân, harmonising with itself, a choir of one. Between the two tallest stones the dark had thickened. It stood the way a door stands ajar, and cold breathed out of it, cold with a smell beneath, earth and salt and something long kept shut. The pendant dragged towards it hard enough to lift the chain off her skin, burning, blazing, crimson as a coal in a bellows. Rory dug her heels into the flattened grass and leaned away, and the cold said, in a woman's voice, in no voice, in the voice stones would have if stones could be bothered: "Malphora." No one living knew that name. She had never said it aloud. She had dreamed it, once or twice, the way you dream a word that was always yours. "There you are," said the dark, with enormous satisfaction, and reached through. A hand closed around her left wrist, thumb finding the crescent scar like a key finding its lock.
created_at"2026-10-13T10:07:27.466Z" 10/13/2026, 10:07:27 AM
model"fireworks/ember-1-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1895
moderation_latency(null)
generation_time146651
tokens_prompt4387
tokens_completion9150
native_tokens_prompt4180
native_tokens_completion8789
native_tokens_completion_images(null)
native_tokens_reasoning6950
native_tokens_cached4179
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(null)
usage0.1330917
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791886047-aUyfJMc7q03hAEqM8A4F"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791886047-QoD8Ngf14cKzNuKIqaaC"
upstream_id"chatcmpl-3ee6df90b8ac4d34be18c4644c8feda1"
provider_responses
0
endpoint_id"b89a2f05-4051-4446-a9b0-7bc8ae7b7c90"
id"chatcmpl-3ee6df90b8ac4d34be18c4644c8feda1"
is_byokfalse
latency1895
model_permaslug"fireworks/ember-1-20260923"
provider_name"Fireworks"
status200
total_cost0.1330917
cache_discount0.0112833
upstream_inference_cost0
provider_name"Fireworks"
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences10
tagDensity0.3
leniency0.6
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1391
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)
67.65% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1391
totalAiIsms9
found
0
word"throb"
count1
1
word"warmth"
count2
2
word"pulsed"
count1
3
word"pulse"
count1
4
word"echo"
count1
5
word"dance"
count1
6
word"flickered"
count1
7
word"tracing"
count1
highlights
0"throb"
1"warmth"
2"pulsed"
3"pulse"
4"echo"
5"dance"
6"flickered"
7"tracing"
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
narrationSentences125
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences125
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences130
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1391
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions1
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount1362
uniqueNames20
maxNameDensity0.51
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Eva"
discoveredNames
Richmond3
Park1
Golden1
Empress1
Rory7
Friday1
Tonight2
Heathrow1
November1
Gân2
Welsh1
Jennifer1
Carter1
Brendan1
England1
Brixton1
Eva4
Cardiff1
Yu-Fei3
Suo2
persons
0"Empress"
1"Rory"
2"Gân"
3"Jennifer"
4"Carter"
5"Brendan"
6"Eva"
7"Yu-Fei"
places
0"Richmond"
1"Park"
2"England"
3"Brixton"
4"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences78
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1391
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences130
matches
0"noted that the"
1"knew that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean33.12
std26.06
cv0.787
sampleLengths
05
161
223
37
42
518
653
79
845
98
1055
1133
123
1377
1450
155
1671
177
1838
1927
2087
2113
228
2366
2449
2547
261
2758
2821
2944
3048
315
3260
3326
3413
3575
3621
3792
381
3929
4012
4118
99.65% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences125
matches
0"been locked"
1"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs234
matches
0"was reading"
1"was working"
76.92% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount3
flaggedSentences3
totalSentences130
ratio0.023
matches
0"The park shut at dusk; she'd cycled past enough evenings to know the chain, the padlock, the rangers' signs."
1"Deer in Richmond were furniture; she'd dodged a hundred on the roads."
2"There were seven, or nine; the count slid each time she took it."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount122
adjectiveStacks0
stackExamples(empty)
adverbCount3
adverbRatio0.02459016393442623
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences130
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences130
mean10.7
std9.54
cv0.892
sampleLengths
05
121
213
32
42
514
65
73
81
916
107
117
122
136
1412
156
1619
1721
187
199
2015
2130
228
233
246
2522
265
277
2812
293
3023
317
323
3317
343
3536
3621
374
3835
396
405
415
4224
432
4430
457
468
477
4823
491
67.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4496124031007752
totalSentences129
uniqueOpeners58
64.10% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences104
matches
0"Just a note typed beneath"
1"Then she heard the humming."
ratio0.019
81.54% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences104
matches
0"She wheeled the bike in,"
1"She left the bike against"
2"She had never stood anywhere"
3"Her torch beam combed the"
4"Their faces turned after the"
5"It gave a slow throb"
6"She should have left."
7"She noted that the way"
8"It threaded through the oaks"
9"Her mother's lullaby, the Welsh"
10"She had never once heard"
11"Her feet had stopped without"
12"She stood still and listened"
13"She walked on."
14"She stopped short."
15"She turned a slow circle"
16"She swept the light past"
17"Its eyes caught the beam"
18"It glowed through her shirt,"
19"She checked the phone to"
ratio0.346
65.77% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount82
totalSentences104
matches
0"The delivery address didn't exist."
1"Rory checked it three times,"
2"The pin sat on open"
3"Yu-Fei had slapped the ticket"
4"Rory had taken the bag"
5"Silas didn't accept bait as"
6"The gate should have been"
7"The park shut at dusk;"
8"Tonight the chain hung in"
9"Someone had wanted it to"
10"She wheeled the bike in,"
11"The path carried her a"
12"She left the bike against"
13"The wrongness arrived quietly, the"
14"Richmond sat under the Heathrow"
15"She had never stood anywhere"
16"Tonight the sky held nothing."
17"The dark had a padded"
18"Her torch beam combed the"
19"Their faces turned after the"
ratio0.788
48.08% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences104
matches
0"Now it pulsed in time"
ratio0.01
84.55% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount4
matches
0"A half-beat late, like an echo that hadn't learnt the distance yet."
1"It glowed through her shirt, a seam of crimson at her collarbone, pulsing faster than her heart now, towing her towards the ring."
2"She crossed into the ring, and the warmth closed over her like a held breath, and she set the bag on the flat stone at the spiral's heart, and photographed it w…"
3"The pendant dragged towards it hard enough to lift the chain off her skin, burning, blazing, crimson as a coal in a bellows."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount1
matches
0"The park shut, the padlock, the rangers' signs"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences10
tagDensity0.1
leniency0.2
rawRatio0
effectiveRatio0
88.5405%