Run: 2026-10-20-01M5C6E5HCGP16G28Q6TKD2SJA

Run Details

Duration:
19.2s
Cost:
$0.001076
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 silence was the first wrong thing. Aurora stopped dead at the boundary stones, her boots sinking a fraction into the soft earth, and the sound of her footsteps died as if a heavy curtain had fallen. For a moment, she thought her hearing had gone. The rustle of the wind in the ancient oaks above, the distant hum of cars on the road behind her, the frantic, high-pitched chirping of a blackbird, all of it, simply gone. In its place was a deep, muffled nothing, like a thick blanket of snow had fallen over the entire world. It had been no trouble at all to slip into Richmond Park after the gates closed. A gate left carelessly unlatched near the Roehampton entrance had made it almost laughably easy. Eva’s voice echoed in her head, a nagging, worried whisper she could almost hear: *Rory, you can’t be serious. A place out of a storybook? It’s a trap.* Eva would have called the police, or the nearest sanatorium. But Eva wasn’t holding the heartstone pendant. The little crimson gem, resting just below Aurora’s collarbone on its thin silver chain, was pulsing. It was a not entirely unpleasant sensation, a warm, rhythmic thrumming against her skin, like a second, tiny heartbeat. It had been doing it ever since she got off the bus. Now, at the edge of this perfect, unnaturally silent clearing, the pulse felt urgent. Insistent. Aurora took a breath. The air, which should have smelled of damp earth and decaying leaves, was instead thick with the cloying sweetness of honeysuckle and honeysuckle alone. Wildflowers bloomed with impossible abundance in the clearing before her, foxgloves and bluebells and strange, pale lilies she couldn’t name, all swaying in unison, though the air was still. *Time moves differently here.* That’s what the stranger who gave her the pendant had told her, his voice a low murmur in the corner of a crowded café. The memory of him was a blur: a grey coat, eyes the colour of old stone, and the odd, insistent way he’d pressed the warm stone into her palm. He’d said it would guide her here, to this Grove, where he’d claimed the answers to her parents’ deaths could be found. It was a lie, of course. It had to be. But it was a lie she’d risk a police caution for. She stepped past the oak standing stones, and the world tilted. A wave of vertigo washed over her, a sensation not unlike the moment a lift starts its descent. The last chirp of the blackbird vanished completely. The atmosphere, which had been merely quiet, now felt vacuum-sealed. The light here was different, too. The moon's pale glow seemed to filter through a film of amber, lending the clearing a warm, autumnal cast that felt wholly alien in the heart of spring. The pendant flared, a spike of heat that made her gasp. Its pulsing was frantic now, tapping against her breastbone like a trapped insect. “Right then,” she said aloud, her voice sounding flat and absorbed by the thick air. “Answers. Here for answers.” She began to walk, her feet making no sound on the grass. The clearing was larger than it had appeared from the boundary, stretching out into a perfect meadow of strange flowers. The ancient grove of trees she was aiming for, a cluster of massive oaks whose branches twisted together into a dark, natural cathedral, seemed no closer than it had before. A trick of the light, she reasoned. Or she was more tired from her shift than she’d thought. A whisper of sound, right at the edge of her hearing, made her freeze. It was a soft, rustling noise, like a silk dress being dragged across a stone floor. She turned her head slowly, her heart hammering against her ribs. There was nothing. Only the flowers, all of them, every single blossom, now nodding gently in her direction. As if she’d just missed them doing something else. She stared hard at them, but they were just flowers. Bloody flowers. “Get a grip, Carter,” she muttered, a welcome burst of anger cutting through the rising fear. She pushed on. Another sound. A tick-tock, tick-tock, a rhythmic clicking that started from the direction of the trees and seemed to echo from all around her at once. It didn't sound like a clock, but like a thick, irregular finger-tapping on a hollow piece of wood. She tried to pinpoint it, but the sound seemed to come from everywhere and nowhere. It would be to her left, then behind her, then from the trees ahead, all within the space of a breath. The sensation of being watched was so strong it was a physical pressure on her back, a prickling heat that crept up her neck and into her scalp. She felt her shoulders bunch up and forced them down. *Out-of-the-box thinking*, she reminded herself. *What’s the logical explanation?* An owl. A fox. Some other nocturnal animal she was disturbing. That was all. A breeze, the first she’d felt since entering the place, ruffled a lock of black hair across her cheek. It carried that same sweet scent of honeysuckle, but now there was another note in it. A faint, underlying mustiness, like a tomb that had been sealed for a very long time and opened for just a second. The pendant, which had been a constant, steady drumbeat, went abruptly cold against her skin. That was no animal. Aurora’s eyes swept the clearing. She was halfway to the grove now, but the twisted oaks didn’t seem to have grown any larger. The light hadn’t changed either, frozen in that perpetual, amber dusk. The tick-tock sound had stopped as suddenly as it had started, leaving a silence that felt deeper, more expectant than before. She saw it then. A shape, darker than the shadows between the ancient trunks, slipping from one gnarled oak to another. It was a fluid movement, too smooth to be human, too silent to be anything natural. The silhouette for a moment resembled a tall, thin woman with hair that floated around her head like smoke, but when Aurora blinked, it was gone. “Hello?” she called out, immediately feeling foolish. “I’m here about the… the thing.” The pendant flared hot again. Not a pulse this time, but a searing, bright heat that was almost painful. It wasn't pointing to the grove anymore. Following its silent urging, Aurora turned in a slow circle. Her gaze landed on the clearing's other edge, the opposite side from where she'd entered. A trail of luminescent white mushrooms, like a path of tiny, pale skulls, led away through the gnarled roots and vanished into a dark thicket. Somewhere beyond it, a light flickered, a lone, beckoning star moving through the trees. It wasn't a natural, flickering fire, but a steady, sickly green orb that drifted with a purpose that was distinctly human. The pendant didn't just pulse. It felt as though a tiny, frantic bird was trapped against her chest, beating its wings against her ribs. The sensation wasn't coming from the grove she’d been aiming for; it was pointing straight at that green light. Into the trail of white mushrooms, into the thicket, and into the forest beyond. The answers she came for weren't in the grove. Before she could take a single step toward it, the green light winked out. The silence deepened, and the sound of the rustling silk returned, much closer this time. She saw a flash of movement from the corner of her eye, something tall and gaunt moving between the trees near the mushroom path, and this time, it was definitely not slipping away. It was turning towards her. Aurora took a step back, her heel catching a root. The pendant burned hot, a frantic drum against her ribcage. The rustling was right behind her now, a dry, slithering sound on the grass, close enough to feel the displaced air on the back of her neck. She froze, her own heartbeat a frantic echo of the stone on her chest, every instinct screaming at her to run.
created_at"2026-10-20T08:21:53.335Z" 10/20/2026, 8:21:53 AM
model"deepseek/deepseek-v4.1-flash-20261017"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency90
moderation_latency(null)
generation_time19157
tokens_prompt4387
tokens_completion2346
native_tokens_prompt4146
native_tokens_completion2078
native_tokens_completion_images(null)
native_tokens_reasoning318
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)
usage0.001075768
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1792484513-zOA0goFNISZRGgG1CIin"
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api_type"completions"
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upstream_id"gv2_HA6TKVO3MkegeiCMDoIzg"
provider_responses
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id"gv2_HA6TKVO3MkegeiCMDoIzg"
is_byokfalse
latency90
model_permaslug"deepseek/deepseek-v4.1-flash-20261017"
provider_name"InferenceNet"
status200
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cache_discount0.000294912
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provider_name"InferenceNet"
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data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount1
adverbTags
0"she said aloud [aloud]"
dialogueSentences5
tagDensity0.8
leniency1
rawRatio0.25
effectiveRatio0.25
81.56% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1356
totalAiIsmAdverbs5
found
0
adverb"completely"
count1
1
adverb"slowly"
count1
2
adverb"gently"
count1
3
adverb"very"
count1
4
adverb"suddenly"
count1
highlights
0"completely"
1"slowly"
2"gently"
3"very"
4"suddenly"
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)
26.25% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1356
totalAiIsms20
found
0
word"silence"
count3
1
word"footsteps"
count1
2
word"echoed"
count1
3
word"whisper"
count2
4
word"rhythmic"
count2
5
word"perfect"
count2
6
word"pulse"
count3
7
word"silk"
count2
8
word"echo"
count2
9
word"searing"
count1
10
word"flickered"
count1
highlights
0"silence"
1"footsteps"
2"echoed"
3"whisper"
4"rhythmic"
5"perfect"
6"pulse"
7"silk"
8"echo"
9"searing"
10"flickered"
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
narrationSentences97
matches(empty)
54.49% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount6
narrationSentences97
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
2"tried to"
3"seem to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences99
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords24
totalWords1356
ratio0.018
matches
0"Rory, you can’t be serious. A place out of a storybook? It’s a trap."
1"Time moves differently here."
2"Out-of-the-box thinking"
3"What’s the logical explanation?"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions14
wordCount1334
uniqueNames6
maxNameDensity0.52
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Eva"
discoveredNames
Richmond1
Park1
Roehampton1
Eva3
Aurora7
Grove1
persons
0"Eva"
1"Aurora"
places
0"Richmond"
1"Park"
2"Roehampton"
3"Grove"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences79
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.737
wordCount1356
matches
0"Not a pulse this time, but a searing, bright heat"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences99
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs27
mean50.22
std27.07
cv0.539
sampleLengths
07
191
276
362
457
579
621
781
824
919
1080
1141
1239
1319
1480
1547
1614
1772
184
1955
2063
2113
2226
2385
2466
2567
2668
94.41% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences97
matches
0"being dragged"
1"been sealed"
2"was gone"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs200
matches
0"wasn’t holding"
1"was pulsing"
2"was aiming"
3"wasn't pointing"
4"was pointing"
5"wasn't coming"
6"was turning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences99
ratio0.01
matches
0"The sensation wasn't coming from the grove she’d been aiming for; it was pointing straight at that green light."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount376
adjectiveStacks0
stackExamples(empty)
adverbCount12
adverbRatio0.031914893617021274
lyAdverbCount6
lyAdverbRatio0.015957446808510637
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences99
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences99
mean13.7
std8.04
cv0.587
sampleLengths
07
130
29
332
420
516
615
719
86
913
107
1116
1219
1312
1414
151
164
1724
1829
1928
2029
2122
226
234
2411
2511
2618
278
2810
296
3028
3111
3213
3315
344
3512
3620
3730
387
3911
4014
4116
4211
433
4415
459
4610
472
4816
493
53.20% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.37373737373737376
totalSentences99
uniqueOpeners37
72.46% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences92
matches
0"Only the flowers, all of"
1"Somewhere beyond it, a light"
ratio0.022
80.87% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences92
matches
0"It had been no trouble"
1"It’s a trap.* Eva would"
2"It was a not entirely"
3"It had been doing it"
4"He’d said it would guide"
5"It was a lie, of"
6"It had to be."
7"She stepped past the oak"
8"Its pulsing was frantic now,"
9"she said aloud, her voice"
10"She began to walk, her"
11"It was a soft, rustling"
12"She turned her head slowly,"
13"She stared hard at them,"
14"she muttered, a welcome burst"
15"She pushed on."
16"It didn't sound like a"
17"She tried to pinpoint it,"
18"It would be to her"
19"She felt her shoulders bunch"
ratio0.348
46.96% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount76
totalSentences92
matches
0"The silence was the first"
1"Aurora stopped dead at the"
2"The rustle of the wind"
3"It had been no trouble"
4"A gate left carelessly unlatched"
5"Eva’s voice echoed in her"
6"A place out of a"
7"It’s a trap.* Eva would"
8"The little crimson gem, resting"
9"It was a not entirely"
10"It had been doing it"
11"Aurora took a breath."
12"The air, which should have"
13"Wildflowers bloomed with impossible abundance"
14"The memory of him was"
15"He’d said it would guide"
16"It was a lie, of"
17"It had to be."
18"She stepped past the oak"
19"A wave of vertigo washed"
ratio0.826
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences92
matches
0"Now, at the edge of"
1"As if she’d just missed"
2"Before she could take a"
ratio0.033
6.80% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount12
matches
0"Aurora stopped dead at the boundary stones, her boots sinking a fraction into the soft earth, and the sound of her footsteps died as if a heavy curtain had fall…"
1"The air, which should have smelled of damp earth and decaying leaves, was instead thick with the cloying sweetness of honeysuckle and honeysuckle alone."
2"The atmosphere, which had been merely quiet, now felt vacuum-sealed."
3"The moon's pale glow seemed to filter through a film of amber, lending the clearing a warm, autumnal cast that felt wholly alien in the heart of spring."
4"The pendant flared, a spike of heat that made her gasp."
5"A tick-tock, tick-tock, a rhythmic clicking that started from the direction of the trees and seemed to echo from all around her at once."
6"A faint, underlying mustiness, like a tomb that had been sealed for a very long time and opened for just a second."
7"The pendant, which had been a constant, steady drumbeat, went abruptly cold against her skin."
8"The tick-tock sound had stopped as suddenly as it had started, leaving a silence that felt deeper, more expectant than before."
9"The silhouette for a moment resembled a tall, thin woman with hair that floated around her head like smoke, but when Aurora blinked, it was gone."
10"It wasn't a natural, flickering fire, but a steady, sickly green orb that drifted with a purpose that was distinctly human."
11"It felt as though a tiny, frantic bird was trapped against her chest, beating its wings against her ribs."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"she said aloud, her voice sounding flat and absorbed by the thick air"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"He’d (would)"
1"she muttered (mutter)"
2"she called out (call out)"
dialogueSentences5
tagDensity0.8
leniency1
rawRatio0.75
effectiveRatio0.75
73.9004%