Run: 2026-11-11-01M75QG2VQ3W63EE5GD2VK6YPA

Run Details

Duration:
1m 57s
Cost:
$0.077047
Provider:
Google AI Studio

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
Rory’s boot snagged on a buried root, pitching her forward between two massive ancient oak standing stones. She caught her balance on one knee, clutching the warm paper bag from the Golden Empress against her ribs to save the containers inside from bursting. Her mobile buzzed inside her jacket pocket, sharp and insistent. She fished it out and thumbed the green icon. "You still in the park?" "Just crossed the boundary." "Leave the food at the main gate, Rory. Customer paid triple, fine, nobody eats dim sum in the middle of Richmond Park at midnight." "The note specified the clearing, Yu-Fei. Easy fifty quid tip." "Wait. What is that scraping sound?" "What sound? Nothing is moving out here." "Right behind you. Like gravel." Rory spun around, sweeping her eyes across the dark gap between the timber monoliths. Empty turf stretched back toward the main bridleway. "Line is bad, Yu-Fei. Nobody is here." "Ge-e-et... o-o-out..." Yu-Fei’s voice stretched into a low, mechanical groan, like a cassette tape tangling inside a broken player. The pitch dropped an octave, vibrating against Rory’s eardrum before the call cut dead. Her screen flashed *No Service*. Then the digital clock at the top corner jumped from 00:14 to 03:49, flickered back to 00:14, and went black. The battery had drained from eighty percent to zero in a heartbeat. Rory slid the dead brick back into her pocket and clicked on her heavy black aluminium torch. Ten paces behind her lay ordinary London parkland, all muddy gravel paths, wet bracken, and the orange smear of streetlamps bleeding over from Roehampton Gate. Usually, stepping across the boundary into the Fae Grove felt like walking into a warm greenhouse. Wildflowers bloomed year-round inside this hidden pocket, thick with lazy bumblebees and the scent of crushed clover, untouched by Earth’s seasons. Time bent strange ways here, turning an hour into five minutes or three days, yet the air always hummed with life. Tonight, the clearing stood paralysed. Knee-high poppies, bluebells, and white campion crowded the turf in dense, colourful carpets, yet not a single petal trembled. No wind reached them. No crickets chirped in the grass. Rory inhaled through her nose and grimaced. Beneath the thick floral sweetness hung a sharp, metallic tang, like old pennies soaked in stagnant pond water. She tucked a loose lock of straight black hair behind her ear, letting the rest brush her shoulders, and checked the paper slip stapled to the takeaway bag. *Leave on the centre stone. Do not linger.* No name, paid for via an envelope of crisp fifties pushed through the restaurant’s letterbox an hour before closing. Isolde had sent weird requests before, though the Fae patron usually met Rory at the oaks with a dry joke and a silver coin. Rory rubbed her right thumb across the small crescent-shaped scar on her left wrist. Her skin prickled. Two years with Evan back in Cardiff had taught her the difference between an empty room and a room holding its breath. You learned to read the air pressure before a fist flew. You noticed how floorboards settled when weight shifted behind a closed hallway door. The Grove had its breath held. She started forward, cutting a slow zig-zag path through the rigid wildflowers toward the flat altar rock at the clearing’s heart. Her wrist brushed her jacket sleeve, bringing the faint *tick-tock, tick-tock* of her analogue watch to her ears. Loud. Too loud in the dead air. *Tick.* Three seconds dragged past. *Tock.* The second hand stuttered, dragged backward a notch, and froze. Rory lowered her arm and walked faster. Her damp trainers crushed the flower stems, each step breaking the quiet with a wet snap. Wait. Not wet. Brittle. She shone the torch down at her heels. Where her soles had pressed the vibrant bluebells, the crushed petals had turned black and flaky, crumbling like burnt newspaper. *Snap, swish.* *Snap, swish, crunch.* Rory stopped mid-stride. That third step had come half a second late, echoing from the right perimeter near the standing stones. She whipped her torch toward the noise. The bright white beam sliced through low mist, illuminating grooved oak bark and tangled roots. Empty. Her bright blue eyes narrowed, scanning the edges of the light cone where shadows pooled thickest. At the far rim of the beam, the fourth standing stone looked wider than its neighbours. While Rory stared, the left side of the silhouette detached from the timber and slid smoothly behind the trunk. No rustle of leaves accompanied the movement. No snapped twigs. Just a tall, narrow wedge of darkness folding itself out of sight like paper sliding under a door. Heat flared against Rory’s collarbone. She gasped, dropping the paper bag onto the grass, and hooked two fingers inside her shirt collar. She yanked the silver chain free. Resting in her palm, the thumbnail-sized deep crimson gemstone pulsed with a steady, feverish warmth. A faint inner glow bled through its facets, staining her pale knuckles red. Her stomach plummeted. Her unknown benefactor had left one clear warning with the Heartstone Pendant: the artifact slept near Fae magic, waking only in the presence of a Hel portal. Isolde hadn't ordered the food. Something else had wedged a foot in the door between realms, and Rory had just walked straight into the parlour. Panic clawed at her throat, hot and suffocating. Rory forced her jaw shut and breathed slowly through her nose. Panic got you cornered. Thinking got you out. She backed away from the centre rock, counting her paces toward the gap in the ancient oak standing stones where she had entered. Five steps. Ten. Fifteen. The boundary oaks should have brushed her shoulder blades by now. Her heel struck flat turf instead. She glanced over her shoulder. Endless carpets of frozen wildflowers stretched into the dark, bordered by unfamiliar, jagged silhouettes twenty metres further back. The pocket realm had stretched, swallowing the exit. From the blackness beyond the left treeline came a sharp, two-tone vibration. *Bzz-bzz.* Rory’s hand slapped her pocket. Her dead mobile sat cold and still against her hip. *Bzz-bzz.* The sound came from the bushes thirty yards away, mimicking the exact rattle of her phone against a wooden table. Then a voice spoke from the dark between two oak pillars. Crisp, calm, tinged with a faint Cardiff lilt. "Just crossed the boundary." Ice flooded Rory’s veins. It was her own voice. She gripped the aluminium torch like a baton, knuckles whitening. Something shifted in the mist ahead, circling anti-clockwise around the clearing’s edge. Criss-cross shadows danced between the monoliths as the unseen thing moved with a wet, rhythmic clicking, like dislocated knuckles popping into place. "What sound? Nothing is moving out here." Her stolen words emerged flat and hollow, stripped of human breath, recited by a throat that didn't understand syllables. A pale, elongated shape dipped beneath a low oak bough. It didn't crouch like a person; its spine hinged backward at an acute angle, long grey limbs jerking in a stiff flip-flop cadence over the roots. Light drew eyes. Standing behind a bright beam made her a target in a shooting gallery. Rory dropped to a crouch, unscrewed the keyring loop at the base of her torch, and wedged the heavy cylinder into a cleft of turf, angling the beam straight toward the takeaway bag ten feet to her right. A decoy. Next, she wrapped her fist around the silver chain, holding the glowing crimson Heartstone out in front of her like a dowsing rod, and slipped sideways into the dark. Simple logic: if the gemstone heated near a Hel breach, moving toward cooler air meant moving away from the rift. She crept three paces north. The pendant grew hotter, stinging her palm. She pivoted east, ducking low through the brittle poppies. Scorching heat radiated through her fingers, raising red welts across her skin. She hissed through her teeth and darted south, back toward the phantom boundary. The Heartstone burned like live iron from a forge, blinding crimson light spilling between her clenched fingers. Rory froze, staring down at the motionless wildflowers around her boots. North, east, south, the heat hadn't shifted lateral direction at all. It had intensified every time she crouched closer to the ground. The portal wasn't among the trees. Right on cue, the decoy torch beam flickered. Twenty feet away, a towering, skinless grey figure unfolded itself over the Golden Empress bag, its jaw unhinging past its collarbone as Yu-Fei’s warped voice poured from its gullet. "Ge-e-et... o-o-out..." Beneath Rory’s trainers, the turf split open with the wet rip of butchered meat. Black frost exploded upward from a jagged crimson fissure, shattering the frozen flowers like glass, and three multi-jointed, skeletal hands shot from the steaming earth and clamped around both her ankles.
created_at"2026-11-11T16:36:44.552Z" 11/11/2026, 4:36:44 PM
model"google/gemini-4-carbon-20261110"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency11095
moderation_latency(null)
generation_time116666
tokens_prompt4387
tokens_completion4414
native_tokens_prompt4439
native_tokens_completion7270
native_tokens_completion_images0
native_tokens_reasoning5289
native_tokens_cached2385
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"default"
usage0.0770465
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.22.2; linux; x64))"
http_referer(null)
request_id"req-1794415004-2WJtoFbfAkkqijwYhXDI"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1794415004-0nOFLXrdpWD8QQHtwhO7"
upstream_id"nJn0auXzK6zFxdIPzpmEoAU"
provider_responses
0
endpoint_id"f0c9681d-e99b-4bcb-8031-752429da222d"
id"nJn0auXzK6zFxdIPzpmEoAU"
is_byokfalse
latency11095
model_permaslug"google/gemini-4-carbon-20261110"
provider_name"Google AI Studio"
status200
total_cost0.0770465
cache_discount0.009063
upstream_inference_cost0
provider_name"Google AI Studio"
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
totalTags0
96.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1465
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
55.63% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1465
totalAiIsms13
found
0
word"mechanical"
count1
1
word"flickered"
count2
2
word"trembled"
count1
3
word"weight"
count1
4
word"echoing"
count1
5
word"scanning"
count1
6
word"pulsed"
count1
7
word"warmth"
count1
8
word"stomach"
count1
9
word"tinged"
count1
10
word"lilt"
count1
11
word"rhythmic"
count1
highlights
0"mechanical"
1"flickered"
2"trembled"
3"weight"
4"echoing"
5"scanning"
6"pulsed"
7"warmth"
8"stomach"
9"tinged"
10"lilt"
11"rhythmic"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences118
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences118
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences130
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen38
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans9
markdownWords21
totalWords1465
ratio0.014
matches
0"No Service"
1"Leave on the centre stone. Do not linger."
2"tick-tock, tick-tock"
3"Tick."
4"Tock."
5"Snap, swish."
6"Snap, swish, crunch."
7"Bzz-bzz."
8"Bzz-bzz."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions1
unquotedAttributions0
matches(empty)
84.88% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1382
uniqueNames16
maxNameDensity1.3
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Golden2
Empress2
Rory18
London1
Roehampton1
Gate1
Fae3
Grove2
Earth1
Evan1
Cardiff2
Three1
Heartstone3
Pendant1
Hel2
Yu-Fei2
persons
0"Rory"
1"Earth"
2"Evan"
3"Three"
4"Heartstone"
5"Pendant"
6"Yu-Fei"
places
0"Golden"
1"London"
2"Roehampton"
3"Fae"
4"Grove"
5"Cardiff"
6"Hel"
globalScore0.849
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount1
matches
0"felt like walking into a warm greenhous"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1465
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences130
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs61
mean24.02
std21.25
cv0.885
sampleLengths
043
119
25
34
424
510
66
77
85
922
107
112
1231
1337
1417
1583
165
1754
1879
1963
206
2146
221
234
241
2565
262
273
283
2918
3039
3135
3228
335
3451
3530
3625
3727
3838
3937
4012
411
4215
431
4439
454
469
4744
487
4955
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences118
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs213
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences130
ratio0.008
matches
0"It didn't crouch like a person; its spine hinged backward at an acute angle, long grey limbs jerking in a stiff flip-flop cadence over the roots."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1394
adjectiveStacks1
stackExamples
0"small crescent-shaped scar"
adverbCount33
adverbRatio0.023672883787661407
lyAdverbCount5
lyAdverbRatio0.003586800573888092
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences130
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences130
mean11.27
std7.99
cv0.709
sampleLengths
017
126
210
39
45
54
624
710
86
97
105
1114
128
137
142
1517
1614
175
1820
1912
2017
2125
2216
2321
2421
255
2619
274
286
297
3018
3128
325
3322
3424
3514
363
3722
3811
3913
406
4121
4218
431
446
451
464
471
4810
497
73.59% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.46923076923076923
totalSentences130
uniqueOpeners61
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences104
matches
0"Then the digital clock at"
1"Usually, stepping across the boundary"
2"Too loud in the dead"
3"Just a tall, narrow wedge"
4"Then a voice spoke from"
ratio0.048
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences104
matches
0"She caught her balance on"
1"Her mobile buzzed inside her"
2"She fished it out and"
3"Her screen flashed *No Service*."
4"She tucked a loose lock"
5"Her skin prickled."
6"You learned to read the"
7"You noticed how floorboards settled"
8"She started forward, cutting a"
9"Her wrist brushed her jacket"
10"Her damp trainers crushed the"
11"She shone the torch down"
12"She whipped her torch toward"
13"Her bright blue eyes narrowed,"
14"She gasped, dropping the paper"
15"She yanked the silver chain"
16"Her stomach plummeted."
17"Her unknown benefactor had left"
18"She backed away from the"
19"Her heel struck flat turf"
ratio0.288
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount68
totalSentences104
matches
0"Rory’s boot snagged on a"
1"She caught her balance on"
2"Her mobile buzzed inside her"
3"She fished it out and"
4"Rory spun around, sweeping her"
5"Yu-Fei’s voice stretched into a"
6"The pitch dropped an octave,"
7"Her screen flashed *No Service*."
8"The battery had drained from"
9"Rory slid the dead brick"
10"Wildflowers bloomed year-round inside this"
11"Tonight, the clearing stood paralysed."
12"Rory inhaled through her nose"
13"She tucked a loose lock"
14"Isolde had sent weird requests"
15"Rory rubbed her right thumb"
16"Her skin prickled."
17"You learned to read the"
18"You noticed how floorboards settled"
19"The Grove had its breath"
ratio0.654
48.08% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences104
matches
0"While Rory stared, the left"
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount3
matches
0"Her stolen words emerged flat and hollow, stripped of human breath, recited by a throat that didn't understand syllables."
1"Scorching heat radiated through her fingers, raising red welts across her skin."
2"Twenty feet away, a towering, skinless grey figure unfolded itself over the Golden Empress bag, its jaw unhinging past its collarbone as Yu-Fei’s warped voice p…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
95.0921%