Run: 2026-10-20-01M5C6BV89VQM5S2W3TA52FQ4J

Run Details

Duration:
19.8s
Cost:
$0.001088
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 flared against her collarbone the moment her boot crossed the line between the last oak and the first. Rory stopped. The warmth spread through the silver chain and into her skin, a steady pulse like a second heartbeat, faster and more insistent than her own. She pressed her palm flat against the crimson stone and counted to ten. It kept throbbing. "So you do work," she murmured. Richmond Park at eleven at night was meant to be empty. She had climbed the fence by Roehampton Gate with a torch in her teeth, torn her coat on a barb, and walked forty minutes through darkness with the pendant doing nothing at all. Now, three steps past the standing stones, it behaved as though she had walked into a furnace. The rain had stopped an hour ago. Water still dripped from the oaks in slow, irregular taps, each one landing somewhere different, a soft percussion that never found a rhythm. Under it, the grass. She was standing on grass that should have been mud. Wildflowers pushed up around her ankles, blue and white, absurd in November, and when she touched one, the petals felt warm as skin. "Eva?" Her voice went out into the dark and did not come back. Not an echo, not a rustle. The trees simply swallowed it whole. Rory swung the torch beam across the clearing. The circle of standing stones was wider than she remembered, wide enough for a cricket pitch, and the great oaks at its edge leaned inward like people listening. Between their roots, something pale caught the light. A ribbon. Pale blue silk, knotted around a root, the ends frayed as though something had worried at them. Her stomach dropped. She knew that ribbon. She had watched Eva tie it into her plait the morning she left, laughing about how the colour clashed with her coat. Rory crouched and worked the knot loose with two fingers. The silk was soaked through, cold, and smelled of iron. She lifted it to her face and breathed in. Iron and wet earth and, faint beneath, something sweet. Something gone over. "Right," she said, mostly to hear a voice that was her own. "Right." She stood and swept the torch further into the clearing. There, a shoe. A trainer, white, lying on its side in the flowers. Twenty feet beyond it, the other one, upright, as if someone had stepped out of it and kept walking. She walked toward them. The pendant beat faster. Halfway across the clearing, the sounds began. Not loud. That was the thing. A rustle in the canopy to her left, and when she turned the beam there, nothing but branches, and the branches were still. She held the light steady on them for a full ten seconds. She counted. A leaf turned over on the wet grass behind her, and she spun about face, and there was nothing there either, only the line of oaks and a darkness between them so solid the torch could not push through it. She thought, quite calmly, that in an ordinary wood the torch would at least show her bark at forty feet. Here, the beam simply stopped. The dark drank it. "Eva!" Louder now. The word cracked in her throat. "Eva, it's Rory!" The clearing answered with a long, low creak. An oak bending. Then another, further off, at the far edge, a sound like a ship's hull shifting in a swell. The whole ring of trees, flexing. Rory backed toward the standing stones. Nowhere to run yet, she told herself. Find the edge, keep the stones behind you, keep something solid at your back. She had spent enough nights in London to know that you did not let a strange place get behind you. Her torch found the second shoe. She picked it up. The laces were still tied, and inside the heel, a small dark smear. She did not look at it closely. Then the flowers moved. Not all of them. A patch at the clearing's centre, a foot wide, where the blue blooms bent outward from a point and then slowly straightened. As though something small had passed through and the stems were remembering how to stand. She aimed the torch there. Nothing. Wet grass, flowers, a stone the size of a fist. She took a photograph. Then another. Each flash lit the clearing white for a heartbeat and left her vision worse afterwards, a green burn in the middle of each eye, so on the third flash she stopped, because the darkness after it felt deeper than before, and in the darkness, she was no longer certain how many standing stones there had been. Twelve. There had been twelve. She had counted them on the way in, because counting was what she did when fear got into her hands. She turned the torch slowly, bringing the beam around the circle, and counted them again. One. Two. Three. Four. Five. She passed the gap where the grass had been trodden flat by Eva's feet and swallowed. Six. Seven. Eight. Nine. The beam slid across nine and the ninth was taller than the others, narrow, grey, and she was certain, certain, she had walked past it an hour ago and it had come no higher than her shoulder. She raised the light to its top. The stone stood a good three feet over her head now, and its surface was not rough. It was smooth. Wet, and smooth, and curved, and at the top it tapered to something that looked almost like a shoulder. She lowered the torch. She did not want to see the rest of it. "It's the grove," she said. The words came out flat and thin. "Time moves differently here. Eva said so. An hour inside could be days out. That's all this is." The pendant blazed against her chest. And then, from somewhere deep between the trees, very quietly, someone called her name. Not Rory. Not Eva's voice, not any voice she knew. "Laila." The name she had not used since Cardiff. The name on a passport she had burned in a bin behind Euston station. Her hands went cold, then hot, and the torch slipped in her grip, saved only by the strap around her wrist. "Who's there?" "Laila." Closer now, though no leaf stirred, no branch bent. It came from everywhere and nowhere, from inside the ring of stones and outside it at once, and it was not unkind. That was the worst of it. It sounded fond. "That's not my name," she said. The flowers at her feet leaned toward her, all of them, every blue head in the clearing swinging round as one, and the wind that should have come with such a movement never came. The grass was still. The air was still. Only the flowers moved, and the oaks above them, and the pale ribbon in her fist, which stirred against her wrist as if something out in the dark had breathed. The pendant's pulse stopped. Not slowed. Stopped. Cold silver bit into her skin and the crimson stone went dull as a pebble, and in the same instant the torch beam shrank to a yellow pinprick, and then to nothing, and she was standing in a dark so complete she could not tell whether her eyes were open. "Laila," it said again, and now it was at her ear, and she felt the warmth of breath on her neck, though she had heard no footsteps and the grass around her was undisturbed. Three rules for a bad night in a strange place, she thought. She had learned them the hard way, in alleyways, in a flat above a bar, in the years that had taught her to sleep with a chair against the door. Don't answer to a name that isn't yours. Don't run toward a voice that knows you. And never, ever turn round. So she did not turn. She reached into her pocket, found the lighter she had brought for exactly this, and struck it. The flame caught. Small, orange, useless against the dark. But it lit the flowers, and the flowers had risen. Every stalk in the clearing stood knee-high now, weaving slowly this way and that like a crowd deciding where to look. Beyond them, between the oaks, something the size of the ninth stone began to walk.
created_at"2026-10-20T08:20:37.265Z" 10/20/2026, 8:20:37 AM
model"deepseek/deepseek-v4.1-flash-20261017"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency147
moderation_latency(null)
generation_time19757
tokens_prompt4387
tokens_completion2350
native_tokens_prompt4146
native_tokens_completion2102
native_tokens_completion_images(null)
native_tokens_reasoning369
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"
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usage0.001087768
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user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1792484437-nvFZGiiA5jmkjSKWxR7B"
session_id(null)
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api_type"completions"
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provider_responses
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is_byokfalse
latency147
model_permaslug"deepseek/deepseek-v4.1-flash-20261017"
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Evaluation details

Result Evaluator Details Meta Data
46.15% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount1
adverbTags
0"it said again [again]"
dialogueSentences13
tagDensity0.462
leniency0.923
rawRatio0.167
effectiveRatio0.154
85.73% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1402
totalAiIsmAdverbs4
found
0
adverb"slowly"
count3
1
adverb"very"
count1
highlights
0"slowly"
1"very"
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)
67.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1402
totalAiIsms9
found
0
word"warmth"
count2
1
word"pulse"
count2
2
word"echo"
count1
3
word"silk"
count2
4
word"stomach"
count1
5
word"footsteps"
count1
highlights
0"warmth"
1"pulse"
2"echo"
3"silk"
4"stomach"
5"footsteps"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences127
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences127
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences133
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1402
ratio0
matches(empty)
93.75% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions1
matches
0"Nowhere to run yet, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions18
wordCount1361
uniqueNames11
maxNameDensity0.37
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Eva"
discoveredNames
Richmond1
Park1
Roehampton1
Gate1
November1
Eva3
London1
Rory5
Cardiff1
Euston1
Three2
persons
0"Eva"
1"Rory"
2"Three"
places
0"Richmond"
1"Park"
2"November"
3"London"
4"Cardiff"
5"Euston"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1402
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences133
matches
0"knew that ribbon"
1"know that you"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean28.61
std22.82
cv0.798
sampleLengths
020
143
26
361
467
51
624
763
829
941
1013
1142
128
137
1483
1529
1612
1735
1847
1930
204
2157
2262
2325
2415
2524
261
2783
2814
2930
306
3114
3210
331
3443
352
3641
376
3872
394
4053
4134
4242
438
448
455
4622
4740
4815
99.74% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences127
matches
0"was meant"
1"been trodden"
97.44% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs195
matches
0"was standing"
1"were remembering"
2"was standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences133
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1362
adjectiveStacks0
stackExamples(empty)
adverbCount51
adverbRatio0.037444933920704845
lyAdverbCount13
lyAdverbRatio0.009544787077826725
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences133
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences133
mean10.54
std10.16
cv0.964
sampleLengths
020
12
225
313
43
56
611
733
817
97
1023
114
1210
1323
141
1512
166
176
188
1928
208
212
2217
233
244
2522
2610
2710
289
299
303
3112
321
3310
343
3510
3619
374
384
397
402
414
4223
4312
442
4540
4620
475
484
493
60.15% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.40601503759398494
totalSentences133
uniqueOpeners54
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences104
matches
0"Pale blue silk, knotted around"
1"Then another, further off, at"
2"Nowhere to run yet, she"
3"Then the flowers moved."
4"Only the flowers moved, and"
ratio0.048
93.08% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences104
matches
0"She pressed her palm flat"
1"It kept throbbing."
2"She had climbed the fence"
3"She was standing on grass"
4"Her voice went out into"
5"Her stomach dropped."
6"She knew that ribbon."
7"She had watched Eva tie"
8"She lifted it to her"
9"she said, mostly to hear"
10"She stood and swept the"
11"She walked toward them."
12"She held the light steady"
13"She thought, quite calmly, that"
14"She had spent enough nights"
15"Her torch found the second"
16"She picked it up."
17"She did not look at"
18"She aimed the torch there."
19"She took a photograph."
ratio0.317
89.81% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount77
totalSentences104
matches
0"The pendant flared against her"
1"The warmth spread through the"
2"She pressed her palm flat"
3"It kept throbbing."
4"Richmond Park at eleven at"
5"She had climbed the fence"
6"The rain had stopped an"
7"Water still dripped from the"
8"She was standing on grass"
9"Wildflowers pushed up around her"
10"Her voice went out into"
11"The trees simply swallowed it"
12"Rory swung the torch beam"
13"The circle of standing stones"
14"Her stomach dropped."
15"She knew that ribbon."
16"She had watched Eva tie"
17"Rory crouched and worked the"
18"The silk was soaked through,"
19"She lifted it to her"
ratio0.74
96.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences104
matches
0"Now, three steps past the"
1"As though something small had"
ratio0.019
85.71% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount4
matches
0"As though something small had passed through and the stems were remembering how to stand."
1"The flowers at her feet leaned toward her, all of them, every blue head in the clearing swinging round as one, and the wind that should have come with such a mo…"
2"Only the flowers moved, and the oaks above them, and the pale ribbon in her fist, which stirred against her wrist as if something out in the dark had breathed."
3"She had learned them the hard way, in alleyways, in a flat above a bar, in the years that had taught her to sleep with a chair against the door."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
73.08% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences13
tagDensity0.385
leniency0.769
rawRatio0.2
effectiveRatio0.154
92.9565%