Run: 2026-10-20-01M5C69QZS9QD11YCAQSBX1QMQ

Run Details

Duration:
20.6s
Cost:
$0.001077
Provider:
InferenceNet

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant burned against Rory's collarbone. She had noticed the warmth building as she pushed through the hawthorn hedge, but now it was unmistakable, a steady pulse of heat against her skin that had no business cooling in the evening air. The clearing opened before her, the ancient oaks standing in their silent circle like spectators at an execution. Wildflowers carpeted the ground in defiant bloom, purple and yellow and white, untouched by the season that had stripped the rest of Richmond Park bare. Her breath clouded in front of her face. The flowers didn't seem to care. Rory pulled the pendant free from her collar and held it up to the dying light. The crimson stone flickered, brightening and dimming in time with her heartbeat. She'd been carrying it for three weeks now, ever since it had appeared in her coat pocket after a delivery to an address that didn't exist, and she still didn't know who'd put it there or why it seemed to know things she didn't. Tonight, though, she needed answers. Eva had told her about this grove, her voice dropping to that careful tone people use when they don't want to admit they believe in fairy tales, and Rory had laughed it off. That was before the dreams started. Before she woke every morning with dirt under her fingernails and the taste of copper on her tongue. The circle of stones welcomed her inside. She stepped past the first oak and the air shifted. It was subtle at first, like walking into a room where someone had just stopped speaking. The birdsong she'd heard from the path, the distant hum of traffic from the park road, even the wind in the branches behind her, all of it winked out between one step and the next. The silence wasn't empty. It was held. Like a breath waiting to be released. Rory turned in a slow circle. The trees marked the boundary in a ring that looked far too regular for anything nature could have arranged. Their trunks were wider than they had any right to be, old bark gnarled into shapes that her eyes kept trying to resolve into faces. The wildflowers at their roots hadn't moved. Not one petal, not one stem, as though the air itself had frozen in place. She looked up. The sky through the branches was wrong, too deep, too purple, the last light of day bleeding into something that wasn't quite night. "Right." Her voice came out smaller than she intended. "So Eva wasn't full of shite." She pulled out her phone. No signal, which was expected, but the clock had stopped at 6:47. The same time, she noticed, from the last time she'd checked it. She clicked her tongue against her teeth, an old habit from childhood that her father had always hated, and pocketed the phone. The pendant flared hot enough to make her wince. She grabbed it, expecting blisters, but the silver chain remained cool. The stone, though, was blazing, its red light cutting through the dim air and illuminating shapes in the grass she hadn't noticed before. Patterns. Scratched into the earth, half-hidden by the flowers. She crouched, brushing a clump of purple petals aside. The lines were too straight for roots, too deliberate for chance. A spiral, curling inward to a single point at its centre. Exactly where she was standing. Rory scrambled back. The spiral remained, unmoved, but now she could see it wasn't alone. Marks ringed the entire clearing, each one identical, each one centred on a gap between the trees. There were seven in total, seven spirals pointing inward, and every one of them was dark as a pupil. The pendant's light flickered and steadied. "Hello?" She winced at how stupid it sounded. The silence swallowed the word and gave nothing back. She tried again, louder. "I know someone's here. The creepy stone circles don't usually turn up on Google Maps. So what do you want?" Nothing. But the flowers at the far edge of the circle bent, just slightly, as though something heavy had passed through them. Rory's heart hammered against her ribs. She counted her exits. Seven gaps between the trees. Seven spirals. One of them had to lead the way she came, back through the hawthorn hedge and the path and the world that made sense. She turned to find it. The gap she'd stepped through was gone. Just trees, old and gnarled, pressed close together like teeth. She swallowed the panic, forced her breathing to slow. Her father's voice in her head, all those years of mock-trials and school debates: *Don't panic, Aurora. Panic is a luxury. Identify the problem, then the solution.* The problem was the grove had moved. The solution was to find another way out. Simple. The pendant, still bright in her hand, was not helping her think. She chose the gap closest to her left, the one with the gentlest slope in the ground between it and the trees. The flowers under her boots made no sound, no rustle, no snap of fragile stems. She looked down and saw her feet resting on their petals without bending them at all. She lifted one boot. The flowers sprang back as though she'd never touched them. "No. No, that's not, that's fine. That's normal." She laughed, a short breathless sound. "Absolutely normal." Something moved in the trees to her right. She froze, every muscle locking tight. The trees there were thicker, darker, their roots twisting above ground like knuckles. She stared at them, waiting, counting heartbeats. The pendant throbbed in time. One. Two. Three. Nothing. Just trees, just shadows, just her own stupid brain playing tricks. Then one of the roots moved. Not a root. Rory saw it now, as the shape uncoiled itself from the others, smooth and pale and long, sliding through the grass without disturbing a single blade. It had no eyes, no head, just a body wrapped around the base of the oak like a snake made of moonlight. It didn't move toward her. It simply existed, coiled and watchful, and the more she looked at it the more certain she became that it had been there the whole time, that everything in this grove had been watching her from the moment she'd stepped inside. The pendant went cold. Rory didn't breathe. She didn't move. She stared at the pale shape until her eyes burned, until she convinced herself it was just a trick of the light, just roots and shadows and a stone that refused to stop burning her skin. When she looked away, when she finally turned back toward the gap she'd chosen, the way was open. The trees had shifted, just enough, just wide enough for her to squeeze through. She didn't reach the gap. A sound stopped her. Footsteps, light and quick, pattering across the clearing behind her. A child's footsteps. But when she spun around, the space behind her held nothing but flowers and the seven dark spirals and the trees standing their ground. The footsteps didn't stop. They circled her, left to right, right to left, flitting through the grass at the edge of the circle. The pendant hung dead against her chest. No light, no warmth, nothing. "Eva?" Her voice cracked on the name. "Eva, is that you? This isn't funny." The footsteps paused. The silence that followed was worse than the sound had been. It stretched, tightened, and in that brittle quiet Rory heard something new. Breathing. Not hers. Too slow, too deep, coming from the gap she'd almost reached. The gap that had seemed so safe. She looked. The trees there were not trees anymore. They were fingers, long and grey and knotted, reaching down from the darkness above. And between them, in the space that should have been her way home, something waited. Something tall and thin and wrong, its outline blurring the air so that she couldn't tell where the trees ended and it began. "Little bird," it said. The voice was like wind through dead leaves. "You came to me at last." The pendant ignited against her chest, searing, burning, and Rory ran.
created_at"2026-10-20T08:19:28.385Z" 10/20/2026, 8:19:28 AM
model"deepseek/deepseek-v4.1-flash-20261017"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency155
moderation_latency(null)
generation_time20594
tokens_prompt4387
tokens_completion2398
native_tokens_prompt4146
native_tokens_completion2081
native_tokens_completion_images(null)
native_tokens_reasoning357
native_tokens_cached4096
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)
usage0.001077268
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1792484368-beY3BrGQHaQKMNPXV8Js"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1792484368-BUQLH8pCGPqAsWKYhgpr"
upstream_id"gv2_5HaC5Il9BLplh9exHWQaC"
provider_responses
0
endpoint_id"4231aea9-73af-4a2f-bd14-660b1d8b13b2"
id"gv2_5HaC5Il9BLplh9exHWQaC"
is_byokfalse
latency155
model_permaslug"deepseek/deepseek-v4.1-flash-20261017"
provider_name"InferenceNet"
status200
total_cost0.001077268
cache_discount0.000294912
upstream_inference_cost0
provider_name"InferenceNet"
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)
dialogueSentences10
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
96.33% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1363
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
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)
41.31% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1363
totalAiIsms16
found
0
word"warmth"
count2
1
word"pulse"
count1
2
word"flickered"
count2
3
word"silence"
count3
4
word"resolve"
count1
5
word"absolutely"
count1
6
word"throbbed"
count1
7
word"footsteps"
count4
8
word"searing"
count1
highlights
0"warmth"
1"pulse"
2"flickered"
3"silence"
4"resolve"
5"absolutely"
6"throbbed"
7"footsteps"
8"searing"
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
filterCount1
hedgeCount2
narrationSentences119
filterMatches
0"think"
hedgeMatches
0"seem to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences124
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords13
totalWords1363
ratio0.01
matches
0"Don't panic, Aurora. Panic is a luxury. Identify the problem, then the solution."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions13
wordCount1309
uniqueNames4
maxNameDensity0.76
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Rory10
Richmond1
Park1
Aurora1
persons
0"Rory"
places
0"Richmond"
1"Park"
globalScore1
windowScore1
89.02% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount2
matches
0"quite night"
1"seemed so safe"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1363
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences124
matches
0"became that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs31
mean43.97
std35.33
cv0.803
sampleLengths
06
192
2134
37
475
598
615
751
888
951
106
1141
1268
1317
1452
1512
1667
1716
188
1946
206
2197
224
2374
245
2576
2614
2747
2861
2918
3011
99.37% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences119
matches
0"was held"
1"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs228
matches
0"was blazing"
1"was standing"
2"was not helping"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences124
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1311
adjectiveStacks0
stackExamples(empty)
adverbCount49
adverbRatio0.03737604881769641
lyAdverbCount4
lyAdverbRatio0.0030511060259344014
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences124
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences124
mean10.99
std8.82
cv0.802
sampleLengths
06
135
218
325
48
56
616
712
844
95
1033
116
1218
137
1410
1516
1635
174
183
197
206
2119
2225
237
2415
253
2623
279
286
295
3012
3112
3222
339
3411
3523
361
378
389
3911
4011
415
423
4312
4417
4519
466
478
489
494
54.03% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3629032258064516
totalSentences124
uniqueOpeners45
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences107
matches
0"Exactly where she was standing."
1"Just trees, old and gnarled,"
2"Just trees, just shadows, just"
3"Then one of the roots"
4"Too slow, too deep, coming"
ratio0.047
89.16% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences107
matches
0"She had noticed the warmth"
1"Her breath clouded in front"
2"She'd been carrying it for"
3"She stepped past the first"
4"It was subtle at first,"
5"It was held."
6"Their trunks were wider than"
7"She looked up."
8"Her voice came out smaller"
9"She pulled out her phone."
10"She clicked her tongue against"
11"She grabbed it, expecting blisters,"
12"She crouched, brushing a clump"
13"She winced at how stupid"
14"She tried again, louder."
15"She counted her exits."
16"She turned to find it."
17"She swallowed the panic, forced"
18"Her father's voice in her"
19"She chose the gap closest"
ratio0.327
58.13% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount86
totalSentences107
matches
0"The pendant burned against Rory's"
1"She had noticed the warmth"
2"The clearing opened before her,"
3"Wildflowers carpeted the ground in"
4"Her breath clouded in front"
5"The flowers didn't seem to"
6"Rory pulled the pendant free"
7"The crimson stone flickered, brightening"
8"She'd been carrying it for"
9"Tonight, though, she needed answers."
10"Eva had told her about"
11"That was before the dreams"
12"The circle of stones welcomed"
13"She stepped past the first"
14"It was subtle at first,"
15"The birdsong she'd heard from"
16"The silence wasn't empty."
17"It was held."
18"Rory turned in a slow"
19"The trees marked the boundary"
ratio0.804
46.73% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences107
matches
0"Before she woke every morning"
ratio0.009
61.99% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences53
technicalSentenceCount6
matches
0"She had noticed the warmth building as she pushed through the hawthorn hedge, but now it was unmistakable, a steady pulse of heat against her skin that had no b…"
1"Wildflowers carpeted the ground in defiant bloom, purple and yellow and white, untouched by the season that had stripped the rest of Richmond Park bare."
2"The sky through the branches was wrong, too deep, too purple, the last light of day bleeding into something that wasn't quite night."
3"But the flowers at the far edge of the circle bent, just slightly, as though something heavy had passed through them."
4"She looked down and saw her feet resting on their petals without bending them at all."
5"The pendant ignited against her chest, searing, burning, and Rory ran."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"She laughed (laugh)"
dialogueSentences10
tagDensity0.2
leniency0.4
rawRatio0.5
effectiveRatio0.2
89.5358%