Run: 2026-02-19-01KHT04TW4MB7FE0TAZAN7FH0E

Run Details

Duration:
1m 8s
Cost:
$0.107680
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The door swung open and there stood Lucien Moreau, rain dripping from his platinum hair onto the shoulders of a charcoal suit that cost more than three months of her delivery wages. "Bonsoir, Aurora." Rory's hand tightened on the doorframe. Behind her, Ptolemy let out a low warning growl from somewhere beneath Eva's mountain of research notes. "Wrong flat." She moved to close the door. His ivory-handled cane caught the edge, holding it open with surprising strength for such a delicate-looking thing. "I think we both know that's not true." The amber eye caught the hallway light. The black one swallowed it whole. She'd forgotten how unsettling that gaze could be, how it made her feel like he was reading two different versions of her at once. "Eva's not here." "I'm not looking for Eva." The curry house below had closed hours ago, but the smell of tandoori still crept up through the floorboards, mixing with the petrichor of the storm outside and something else. Something that clung to Lucien like expensive cologne but wasn't. Sulphur, maybe. Or burnt sugar. "You can't just show up here, Luc." "And yet." He spread his hands, the cane now tucked under one arm. "Here I am." Three months. Three months since that night in the warehouse district, since she'd watched him walk away through a door that led somewhere that definitely wasn't London, since she'd told him exactly what she thought of half-demons who made promises they couldn't keep. She should slam the door. She should call Eva. She should do literally anything other than step aside and let him in. The door clicked shut behind him. Lucien surveyed the cramped flat with the expression of a man who'd grown accustomed to penthouses trying not to show his distaste for a shoebox. His gaze lingered on the three deadbolts, then on the stack of grimoires threatening to avalanche off the kitchen table. "Still researching the Thornwood situation, I see." "None of your business." "Everything in this city is my business. That's rather the point of being a broker." She crossed her arms. The gesture pulled her old Cardiff University jumper tight across her shoulders, and she watched his eyes track the movement before he could stop himself. Good. Let him remember what he'd walked away from. "Why are you here?" "Would you believe I was in the neighbourhood?" "You live in Mayfair." "I have interests in the East End." "Since when?" His mouth curved. Not quite a smile, not quite a smirk. That infuriating expression she'd spent weeks trying to scrub from her memory. "Since about three months ago, actually." The implication hung between them like smoke. Ptolemy emerged from beneath a pile of medieval manuscripts, winding between Rory's ankles with his eyes fixed on Lucien. The cat had always been able to sense the demon half. Eva said it was because cats had one paw in the spirit realm themselves. "You're dripping on Eva's carpet." "It's already stained with something that looks suspiciously like phoenix ash." "That's none of your concern." "Phoenix ash is quite dangerous if improperly stored." "And half-demons who don't call for three months are quite unwelcome if they show up unannounced." There it was. Out in the open now, ugly and honest. Lucien's expression flickered. That perfect mask of urbane detachment cracking just enough to show something raw underneath. He set his cane against the wall with careful precision, buying time. "I had matters to attend to. In Avaros." "For three months." "Time moves differently there." "How convenient." "It's actually quite inconvenient." He turned to face her fully. "Three months here was closer to a year on my father's side." The words landed like stones in still water. A year. He'd been gone a year, his time. She thought of all the nights she'd spent staring at her phone, wondering if she'd pushed too hard, asked for too much, expected things a creature of two worlds couldn't give. "That's not," she started, then stopped. "You could have sent word." "Through what? The Royal Mail doesn't deliver to demon realms." "You're an information broker. You know people." "I know people who would have used any message to you as leverage against me." He took a step closer. "Against us. My father has enemies who would find a human woman with connections to me very... interesting." The radiator clanked in the corner. Outside, the rain intensified, hammering against the windows like impatient fingers. "So you stayed away to protect me." "I stayed away because I had no choice." Another step. "The doors between realms sealed when I crossed. Some sort of territorial dispute between the greater powers. I spent eleven months, my time, trying to find another way back." "And now you're here." "And now I'm here." He stood close enough that she could see the faint scar along his jawline, the one he'd told her came from his first and only attempt to defy his father. Close enough to smell that burnt sugar scent, which she now realised wasn't sulphur at all but something uniquely him. The blood of two worlds mixing into something that shouldn't exist but did. "I owe you an explanation," he said quietly. "I owe you more than that. But I need you to understand, I did not choose to leave." "You chose to go through that door." "To save your life." "I didn't ask you to." "No. You asked me to stay." His mismatched eyes held hers. "And I have regretted every day since that I couldn't." The anger she'd been nursing like a small, hot coal began to gutter. She'd spent three months constructing a narrative where he'd used her, played her, vanished like every other man who'd promised her something real. It was easier than the alternative. "You should have found a way to tell me." "I know." "I thought..." She stopped. Swallowed. "I thought you'd decided I wasn't worth the trouble." Something dangerous flickered across his features. "Aurora." "Don't." "You are the only thing in two realms that has ever been worth trouble to me." The words hung in the cramped flat, too big for the space, pressing against the walls lined with ancient texts and unwashed tea mugs. "That's a very pretty thing to say." "It's not pretty. It's inconvenient and complicated and it has made me extremely unpopular with my father's court." He reached up, his fingers stopping just short of her cheek. "I am not a man who does inconvenient things, Aurora. I am a broker. I deal in clean exchanges, mutual benefit, transactions that make sense. You make no sense. You are a human woman who delivers takeaway food and lives above a curry house and somehow you have become the only fixed point in my entire miserable existence." Ptolemy chose that moment to yowl, breaking the tension like a needle through silk. "Your cat disapproves," Lucien observed. "He disapproves of everyone." "Wise creature." She should step back. Should create distance, demand more answers, protect herself from the gravity of him. Instead, she found herself cataloguing the new lines around his eyes, the slight gauntness to his cheekbones that hadn't been there before. "You look terrible." "Thank you for noticing." "I mean it. You look like you haven't slept in weeks." "Sleep is difficult when one's mind is occupied." His hand finally made contact, fingertips brushing her jaw with a tenderness that didn't match anything she knew about demons. "I dreamed of you, Aurora. Every night in that wretched realm, surrounded by creatures who would eat their own young for power, I dreamed of your flat in London and the way you laugh at my suits and the precise shade of blue your eyes turn when you're angry with me." "I'm angry with you now." "I know. They're magnificent." She caught his wrist, feeling the pulse that beat too slow to be human beneath her fingers. "This doesn't fix anything." "I know that too." "Three months of silence, Luc. Three months of wondering if you were dead or if you just didn't care." "I cared. I care. That is rather the problem." The rain continued its assault on the windows. Somewhere in the distance, a siren wailed, ordinary London carrying on while something distinctly extraordinary unfolded in Eva's cluttered flat. "What do you want?" "I want to know if I'm too late." His voice dropped, losing that polished edge she'd always associated with him. "I want to know if three months, or a year, has killed whatever was between us. If you've moved on. If I should turn around and walk back out that door and never darken your threshold again." The question deserved a careful answer. It deserved consideration, measured evaluation, the kind of cool-headed thinking she was supposedly known for. "You left your cane by the door." He blinked, thrown by the non sequitur. "I... yes?" "The blade's inside. Your only weapon." "I'm aware." "You walked into this flat, where I could have any number of protective wards set up, and you left your weapon by the door." Understanding dawned in his mismatched eyes. "You wouldn't need a ward. You'd just hit me with one of Eva's grimoires." "The heavy one. Binding sigils of the Northern Courts. Twelve hundred pages." "That would definitely leave a mark." She hadn't realised she was still holding his wrist until she felt his pulse quicken beneath her fingers. Not human-fast, but faster than before. "I'm still angry." "Understandable." "This doesn't mean I forgive you." "I wouldn't expect it to." "And if you ever disappear for three months again without finding some way to contact me, I will track you down myself and make you regret it." His mouth curved into something that was definitely a smile this time, sharp and genuine and utterly devastating. "Is that a threat, Miss Carter?" "It's a promise, Monsieur Moreau." The door to Eva's bedroom slammed open, and her best friend appeared wielding what looked like a cricket bat covered in runic symbols. "Rory, I heard voices, is everything, oh." Eva's sleep-wild hair and oversized pyjamas made an interesting contrast to the weapon raised over her head. "Oh, it's you." Lucien inclined his head. "Good evening, Miss Walsh." "It's two in the morning." "Then technically it's morning." Eva lowered the bat, but only slightly. "You've got some nerve." "So I've been told." "Three months, you absolute—" "Eva." Rory cut her off, not releasing Lucien's wrist. "We're handling it." Her friend's eyes dropped to their connected hands, then rose again with an expression that promised a very long conversation later. "Fine. But if he does anything suspicious, I'm not responsible for what happens. That bat has a hair trigger." "Noted." Eva retreated, but left her door conspicuously ajar. The faint glow of a protection ward flickered to life around the frame. "Your friend is rather protective." "She's met demons before." "I'm only half." "The half that matters, according to her research." Lucien's free hand came up to cover hers where it still gripped his wrist. His skin was cooler than a human's, but not cold. Not dead. Just different. "I should go. Let you sleep. This conversation should happen in daylight, when we're both thinking clearly." "You came at two in the morning." "I came straight from the crossing point. It opened an hour ago. I didn't," he paused, "I couldn't wait." Something cracked in her chest. Something she'd been trying very hard to keep frozen. "Stay." His breath caught. Actually caught, like he wasn't expecting the word. "Aurora." "Stay until morning. The couch is terrible and Eva will probably throw things at you, but stay. We'll talk when the sun comes up." "And tonight?" "Tonight you tell me about Avaros. About what happened. About why it took eleven months your time to find your way back." "That's not a happy story." "I don't need happy." She finally released his wrist, but only to take his hand properly, lacing her fingers through his. "I need true." The rain softened outside, settling into the gentle rhythm that would likely continue until dawn. Ptolemy, apparently satisfied that immediate violence was off the table, curled up on a stack of manuscripts and began to purr. Lucien looked at their joined hands, then at her face, then at the chaos of Eva's flat with its toppling books and arcane symbols and three deadbolts on the door. "I've spent a year in a demon realm surrounded by creatures of unimaginable power," he said slowly. "And nothing there frightened me as much as knocking on that door tonight." "Good." "Good?" "It means you actually care about the answer." He laughed, soft and surprised, and she remembered why she'd fallen for him in the first place. Not the suits or the mysterious background or even those unsettling eyes. It was this, the way she could crack his polished surface and find something genuine underneath. "Come on." She tugged him toward the couch. "You can start with why time moves differently in Avaros." "That's rather complicated physics." "I dated a man who thought the earth was flat for six months. I can handle complicated." "That's a horrifying admission." "Don't start. You're still on thin ice." He settled onto Eva's terrible couch, pulling her down beside him with careful deliberation. "Where would you like me to begin?" "The beginning." "That's several thousand years of demonic history." "Then you'd better start talking." Outside, London carried on through the rain-soaked night, unaware that something had shifted in a cramped flat above a curry house. Something that might have been broken three months ago, but perhaps wasn't beyond repair. Lucien began to speak, his voice low and careful, and Rory listened as the story of another world unfolded in the dark.
created_at"2026-02-19T03:47:21.623Z" 2/19/2026, 3:47:21 AM
model"anthropic/claude-4.5-opus-20251124"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1701
moderation_latency164
generation_time67947
tokens_prompt4556
tokens_completion3655
native_tokens_prompt4656
native_tokens_completion3376
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.10768
router(null)
provider_responses
0
endpoint_id"de32581c-2e11-4f54-8d29-e8a6e19d3038"
id"e4000524-7c3e-4e1e-be40-57a64c0870c8"
is_byokfalse
latency1700
model_permaslug"anthropic/claude-4.5-opus-20251124"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771472841-A9ceVODVTzSPk5RPmZOE"
upstream_id"e4000524-7c3e-4e1e-be40-57a64c0870c8"
total_cost0.10768
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags16
adverbTagCount3
adverbTags
0"she started then [then]"
1"he said quietly [quietly]"
2"he said slowly [slowly]"
dialogueSentences130
tagDensity0.123
leniency0.246
rawRatio0.188
effectiveRatio0.046
84.80% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2302
totalAiIsmAdverbs7
found
0
adverb"very"
count4
1
adverb"utterly"
count1
2
adverb"slightly"
count1
3
adverb"slowly"
count1
highlights
0"very"
1"utterly"
2"slightly"
3"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)
73.94% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2302
totalAiIsms12
found
0
word"implication"
count1
1
word"flickered"
count3
2
word"perfect"
count1
3
word"tension"
count1
4
word"silk"
count1
5
word"tenderness"
count1
6
word"pulse"
count2
7
word"silence"
count1
8
word"measured"
count1
highlights
0"implication"
1"flickered"
2"perfect"
3"tension"
4"silk"
5"tenderness"
6"pulse"
7"silence"
8"measured"
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
narrationSentences107
matches(empty)
89.45% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences107
filterMatches
0"feel"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences219
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen58
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2294
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions38
wordCount1250
uniqueNames10
maxNameDensity0.88
worstName"Lucien"
maxWindowNameDensity2.5
worstWindowName"Eva"
discoveredNames
Lucien11
Moreau1
Ptolemy4
Eva10
Three2
London3
Cardiff1
University1
Rory4
Swallowed1
persons
0"Lucien"
1"Moreau"
2"Ptolemy"
3"Eva"
4"Rory"
places
0"London"
1"Cardiff"
globalScore1
windowScore0.833
56.25% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences80
glossingSentenceCount3
matches
0"Not quite a smile, not quite a smirk"
1"not quite a smirk"
2"looked like a cricket bat covered in runi"
3"Ptolemy, apparently satisfied that imme"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.436
wordCount2294
matches
0"Not human-fast, but faster than before"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences219
matches
0"unsettling that gaze"
1"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs147
mean15.61
std15.46
cv0.991
sampleLengths
032
12
223
32
423
58
637
73
85
945
107
1116
1243
1322
146
1545
167
174
1815
1938
204
218
224
237
242
2529
267
2744
285
2911
305
318
3216
3311
3429
358
363
374
382
3922
4048
4111
4210
437
4438
4517
467
4739
484
494
98.70% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences107
matches
0"been gone"
1"been broken"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs220
matches
0"was reading"
1"wasn't expecting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences219
ratio0
matches(empty)
88.36% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1257
adjectiveStacks0
stackExamples(empty)
adverbCount67
adverbRatio0.053301511535401754
lyAdverbCount23
lyAdverbRatio0.018297533810660304
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences219
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences219
mean10.47
std9.02
cv0.861
sampleLengths
032
12
26
317
42
56
617
78
87
96
1024
113
125
1330
1410
152
163
177
1813
193
202
2141
225
234
2413
256
2625
2720
287
294
3015
314
3225
331
348
354
368
374
387
392
403
418
4212
436
447
4519
4611
4714
485
4911
48.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3242009132420091
totalSentences219
uniqueOpeners71
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences96
matches
0"Instead, she found herself cataloguing"
1"Somewhere in the distance, a"
2"Actually caught, like he wasn't"
ratio0.031
57.50% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount39
totalSentences96
matches
0"She moved to close the"
1"His ivory-handled cane caught the"
2"She'd forgotten how unsettling that"
3"He spread his hands, the"
4"She should slam the door."
5"She should call Eva."
6"She should do literally anything"
7"His gaze lingered on the"
8"She crossed her arms."
9"His mouth curved."
10"He set his cane against"
11"He turned to face her"
12"He'd been gone a year,"
13"She thought of all the"
14"she started, then stopped"
15"He took a step closer"
16"He stood close enough that"
17"he said quietly"
18"His mismatched eyes held hers"
19"She'd spent three months constructing"
ratio0.406
43.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences96
matches
0"The door swung open and"
1"Rory's hand tightened on the"
2"She moved to close the"
3"His ivory-handled cane caught the"
4"The amber eye caught the"
5"The black one swallowed it"
6"She'd forgotten how unsettling that"
7"The curry house below had"
8"Something that clung to Lucien"
9"He spread his hands, the"
10"She should slam the door."
11"She should call Eva."
12"She should do literally anything"
13"The door clicked shut behind"
14"Lucien surveyed the cramped flat"
15"His gaze lingered on the"
16"She crossed her arms."
17"The gesture pulled her old"
18"His mouth curved."
19"That infuriating expression she'd spent"
ratio0.833
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences96
matches(empty)
ratio0
23.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount8
matches
0"The door swung open and there stood Lucien Moreau, rain dripping from his platinum hair onto the shoulders of a charcoal suit that cost more than three months o…"
1"Three months since that night in the warehouse district, since she'd watched him walk away through a door that led somewhere that definitely wasn't London, sinc…"
2"Lucien surveyed the cramped flat with the expression of a man who'd grown accustomed to penthouses trying not to show his distaste for a shoebox."
3"She thought of all the nights she'd spent staring at her phone, wondering if she'd pushed too hard, asked for too much, expected things a creature of two worlds…"
4"She'd spent three months constructing a narrative where he'd used her, played her, vanished like every other man who'd promised her something real."
5"Instead, she found herself cataloguing the new lines around his eyes, the slight gauntness to his cheekbones that hadn't been there before."
6"His mouth curved into something that was definitely a smile this time, sharp and genuine and utterly devastating."
7"Her friend's eyes dropped to their connected hands, then rose again with an expression that promised a very long conversation later."
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount2
matches
0"He reached up, his fingers stopping just short of her cheek"
1"Rory cut, not releasing Lucien's wrist"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"Lucien observed (observe)"
dialogueSentences130
tagDensity0.023
leniency0.046
rawRatio0.333
effectiveRatio0.015
83.6691%