Run: 2026-10-13-01M4TC1VWFX8GH2ADN62YR3ETG

Run Details

Duration:
1m 45s
Cost:
$0.109902
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 stone was warm. That was the first wrong thing. Rory snatched her hand back and flexed her fingers. Frost silvered the grass of Richmond Park. Her breath smoked. And yet the standing stone, older than the city at her back, held heat like a banked coal. "Geology. Deep earth. Fine." The dark took her voice apart and handed nothing back. Under her fleece, the Heartstone pendant gave another slow pulse against her sternum. Three nights of this. Each one stronger. Tonight it had woken her at half eleven, hot through her pyjama top, and set its hook behind her ribs, and she had dressed and caught the night bus out of Hammersmith like a woman sleepwalking. Whoever had posted it through her letterbox, no card, no name, only a silver chain in a box, had known exactly what it would do. She wanted answers. She had told Eva she was working a late drop for Yu-Fei. The gap between the two nearest stones stood wide as a door. The pendant pulled her towards it, and Rory, who prided herself on not being pulled anywhere by anyone, not since Evan, went anyway. Answers. That was the deal she had made with herself on the bus. She stepped through, and the world changed pressure. Silence closed over her ears like deep water. The park's distant hum, the A-road, the foxes, gone. Inside the ring of stones the frost ended in a clean line, as if someone had drawn it with a ruler. Wildflowers furred the grass instead. Foxgloves. Cowslips. Tall spires of something white she couldn't name, all of it blooming in November, all of it breathing out a sweetness that sat at the back of her throat like a funeral parlour. Second wrong thing. Her mobile said 03:47. Then it said 00:12. Then the screen died under her thumb, and the torch she had lifted from the restaurant flickered once, twice, and settled into a thin yellow thread that reached about as far as her doubt. "Right. List it." Her voice came out steadier than her hands. One, warm stone, geology. Two, flowers, microclimate, Richmond had strange corners, everyone said so. Three, cheap torch, cheap phone. She worked the list the way she worked difficult tables at the Golden Empress, one plate at a time, no panic, and her heart began to believe her. Then she heard her own footsteps arrive half a beat late. She stopped. The clearing stopped with her. Grass, flowers, the slow turn of her breath. She took one step. Crunch. And after it, soft as a secret, another crunch. She stood still and counted to ten. Nothing. She tapped her toe twice against the turf. Two small thuds. Then, a polite half-second later, a third. "Wind." The clearing had no wind. The foxgloves stood still as a congregation. A blackbird began to sing from the oaks beyond the stones, a full daylight song, liquid and confident, the sort of song that belonged to June mornings and garden fences. Rory looked up, and the instant her eyes found the branch, the song cut off. Not trailed. Cut. The silence afterwards had a held-breath quality, the silence of a room where everyone has stopped talking because you walked in. She became aware, the way you become aware of a toothache, of movement at the edge of her sight. A figure between the oaks. Tall. Patient. She turned her head. A sapling stood there, thin and silver-barked, leaves trembling though nothing stirred them. She looked away. Counted five. Looked back. The sapling stood six feet closer. "Lovely. Statues. We're doing statues." Counting seemed wise. She walked the inside of the ring and counted the standing stones, touching none of them. Twelve. She walked it again, slower, because twelve was a number with dignity, and this time she counted thirteen. The thirteenth stone was narrower than the others. It hunched. It leaned into the clearing the way a person leans into a conversation they should not be hearing. She did not touch it. She gave it a wide berth, and the whole time she passed it, the skin between her shoulder blades drew tight as lacing. That was when the humming started. A tune. Low, unhurried, a little flat in the middle, where the hummer always went flat. Her mother's tune, the one from the kitchen in Cardiff, the one that lived under the sound of running taps and Sunday lamb. Rory's whole body went cold in a way the frost had never managed. "Mam?" Stupid. Stupid. Twenty-five years old and the word still came out small. The humming stopped. "Aurora," said the clearing. The voice came from everywhere, from the flowers, from the ground under her boots. It was a kind voice. It was wrong the way a smile with too many teeth is wrong. She said nothing. Her hand had closed around the pendant without her permission, and it throbbed against her palm, faster now, eager. "Rory," said the clearing, tasting the name, and she heard her own contempt for it in its mouth. Then, softer, with the exact Cardiff lilt, the exact drop at the end. "Laila." Nobody called her that. Nobody alive called her that except her mother, and her mother was asleep in Cardiff with the cat on her feet and the radio murmuring, her mother was not standing in a flower-drunk clearing at midnight in Richmond Park. Still, Rory's knees answered before her head did, one small step towards the sound, traitor knees, and the crescent scar on her left wrist began to itch. "Malphora," said the clearing. The pendant flared. Pain seared her palm. She hissed and let go, and in that one white instant every flower in the clearing turned to face her. All at once. Hundreds of small faces. A congregation after all. The chain had gone taut. It pulled, not towards the stones, not towards the gap she had come through, but inwards, towards the heart of the clearing, where the grass dipped into a hollow she could have sworn had not been there a minute ago. The air above the hollow shivered the way air shivers over summer tarmac. The pendant pulled and pulled, a magnet finding its true north, and Rory understood, with the clean bright horror of a locked door finally opening, that it had never been leading her to the grove. It had been leading her here. To this exact spot. Or it had been leading something else to her. From the hollow, in a voice she knew better than any voice on earth because it was hers, the clearing spoke. "Wind. Foxes. London has foxes." It was mocking her. It was learning her. She backed away. Three steps, four, heel catching on a root. She turned to run for the gap in the stones, and the gap was not there. The ring stood unbroken, shoulder to shoulder, twelve stones or thirteen, all of them warm, all of them listening. The narrow one, the hunched one, was unfolding. "Laila, love," said her mother's voice, from directly behind her, close enough that the words stirred her hair. "You came. I knew you'd come." Cold fingers closed around her left wrist. A thumb found the crescent scar with the ease of long practice, and pressed. "Found you," whispered her own voice, into her ear.
created_at"2026-10-13T10:13:41.927Z" 10/13/2026, 10:13:41 AM
model"fireworks/ember-1-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4158
moderation_latency(null)
generation_time105057
tokens_prompt4387
tokens_completion7791
native_tokens_prompt4180
native_tokens_completion7243
native_tokens_completion_images(null)
native_tokens_reasoning5642
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)
usage0.1099017
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791886421-rAIMjRQDuZQimrhhXOIR"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791886421-SOgL9tEepGzT0Gh1Cq0I"
upstream_id"chatcmpl-7c95482cf9504fc8b69b935458b61d1a"
provider_responses
0
endpoint_id"b89a2f05-4051-4446-a9b0-7bc8ae7b7c90"
id"chatcmpl-7c95482cf9504fc8b69b935458b61d1a"
is_byokfalse
latency4158
model_permaslug"fireworks/ember-1-20260923"
provider_name"Fireworks"
status200
total_cost0.1099017
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)
dialogueSentences13
tagDensity0.231
leniency0.462
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)
67.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1227
totalAiIsms8
found
0
word"pulse"
count1
1
word"silence"
count3
2
word"flickered"
count1
3
word"footsteps"
count1
4
word"throbbed"
count1
5
word"lilt"
count1
highlights
0"pulse"
1"silence"
2"flickered"
3"footsteps"
4"throbbed"
5"lilt"
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
narrationSentences119
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences119
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences127
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1227
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1194
uniqueNames16
maxNameDensity0.5
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Cardiff"
discoveredNames
Richmond3
Park2
Heartstone1
Hammersmith1
Eva1
Yu-Fei1
Rory6
Evan1
November1
Golden1
Empress1
June1
Cardiff3
Sunday1
Cold1
Three3
persons
0"Hammersmith"
1"Eva"
2"Rory"
3"Evan"
places
0"Richmond"
1"Park"
2"November"
3"Golden"
4"June"
5"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount0
matches(empty)
37.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.63
wordCount1227
matches
0"not towards the stones, not towards the gap she had come through, but inwards, towards the heart of the clearing"
1"not towards the gap she had come through, but inwards, towards the heart of the clearing"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences127
matches
0"opening, that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs46
mean26.67
std25.18
cv0.944
sampleLengths
010
137
24
310
496
548
68
778
83
942
103
1155
1211
1315
1414
1526
161
1712
1869
1943
2013
215
2238
2356
246
2552
261
2712
283
2936
3022
3118
3213
331
3470
354
3638
3793
3819
3921
405
418
4254
4324
4421
459
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences119
matches
0"being pulled"
56.63% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs186
matches
0"was working"
1"was not standing"
2"was mocking"
3"was learning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences127
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1200
adjectiveStacks0
stackExamples(empty)
adverbCount32
adverbRatio0.02666666666666667
lyAdverbCount4
lyAdverbRatio0.0033333333333333335
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences127
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences127
mean9.66
std9
cv0.932
sampleLengths
04
16
29
37
43
518
64
710
813
94
103
1136
1225
133
1412
1512
1623
171
1812
198
208
219
2221
235
241
251
2633
273
284
294
3034
313
328
334
3410
355
3628
3711
382
395
408
414
421
439
447
451
468
473
487
491
65.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.44881889763779526
totalSentences127
uniqueOpeners57
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences102
matches
0"Then it said 00:12."
1"Then the screen died under"
2"Then she heard her own"
3"Then, a polite half-second later,"
4"Then, softer, with the exact"
ratio0.049
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences102
matches
0"Her breath smoked."
1"She wanted answers."
2"She had told Eva she"
3"She stepped through, and the"
4"Her mobile said 03:47."
5"Her voice came out steadier"
6"She worked the list the"
7"She took one step."
8"She stood still and counted"
9"She tapped her toe twice"
10"She became aware, the way"
11"She turned her head."
12"She looked away."
13"She walked the inside of"
14"She walked it again, slower,"
15"It leaned into the clearing"
16"She did not touch it."
17"She gave it a wide"
18"Her mother's tune, the one"
19"It was a kind voice."
ratio0.294
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount69
totalSentences102
matches
0"The stone was warm."
1"That was the first wrong"
2"Rory snatched her hand back"
3"Frost silvered the grass of"
4"Her breath smoked."
5"The dark took her voice"
6"Each one stronger."
7"Tonight it had woken her"
8"She wanted answers."
9"She had told Eva she"
10"The gap between the two"
11"The pendant pulled her towards"
12"That was the deal she"
13"She stepped through, and the"
14"The park's distant hum, the"
15"Wildflowers furred the grass instead."
16"Her mobile said 03:47."
17"Her voice came out steadier"
18"She worked the list the"
19"The clearing stopped with her."
ratio0.676
98.04% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences102
matches
0"Whoever had posted it through"
1"To this exact spot."
ratio0.02
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount2
matches
0"Tall spires of something white she couldn't name, all of it blooming in November, all of it breathing out a sweetness that sat at the back of her throat like a …"
1"Then the screen died under her thumb, and the torch she had lifted from the restaurant flickered once, twice, and settled into a thin yellow thread that reached…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
73.08% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"whispered her own voice (whisper)"
dialogueSentences13
tagDensity0.231
leniency0.462
rawRatio0.333
effectiveRatio0.154
93.2501%