Run: 2026-02-19-01KHT0EZB813QYBTST38R1HY54

Run Details

Duration:
39.8s
Cost:
$0.007884
Provider:
Alibaba

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
Blood pooled in the perfect circle of a London Underground roundel. Detective Harlow Quinn stepped over the yellow tape, her boots crunching on shattered glass that glittered like crushed diamonds under the emergency lights. The air tasted of ozone and burnt hair, a metallic tang that coated the back of her throat. She did not flinch. Eighteen years on the Met had burned away the instinct to gag at the scent of fresh death. "DS Morris would have hated this," she muttered, the name slipping out before she could clamp her jaw shut. "Morris isn't here, Guv." PC Davies stood by the tunnel entrance, his face pale under the flickering fluorescent strip. "And neither is the victim's upper half." Quinn crouched beside the remains. The body lay severed at the waist, dressed in expensive Italian wool that smelled of lavender and expensive dry cleaning. No blood spatter on the tunnel walls. No drag marks on the grimy tiles. Just a clean cut and a pool of blood that refused to spread beyond the red circle of the station logo. "Cleanest dissection I've ever seen," Davies said, shifting his weight from foot to foot. "Surgical precision. Maybe a professional hit?" "Professionals leave bodies whole to send a message," Quinn said. "Or they dump them in the Thames. They don't perform magic tricks in Camden Town station." She pulled a latex glove from her pocket and snapped it onto her wrist. The sound echoed down the empty platform. She reached out, hovering her hand inches above the blood. It didn't smell right. Beneath the copper scent lay something else. Ancient dust. Myrrh. The specific, cloying smell of old paper left in a damp cellar. "Look at the edges of the wound," Quinn ordered. Davies leaned in, his torch beam trembling slightly. "Smooth. Laser smooth." "No burn marks. No cauterization." Quinn traced the air above the torso. "Something sliced through flesh and bone without generating heat. Without friction." "Impossible." "Not impossible. Just outside your pay grade." Quinn stood up and scanned the platform. The station sat abandoned, a hollowed-out ghost beneath the bustling streets of Camden. Graffiti covered the peeling advertisements for West End musicals. Rats scurried in the shadows, but they kept their distance from the body. Animals knew better than to approach a predator's kill. Her eyes landed on the far end of the platform, near the old ticket booth. The shadows there seemed deeper than the rest, swallowing the light from the emergency strips. Something glinted against the grime. She walked toward it, her stride eating up the distance with military efficiency. Davies scrambled to keep up. "Guv, we need to wait for SOCO. Chain of evidence—" "Chain of evidence is already broken if the killer vanished into thin air," Quinn snapped. "Stay put." She reached the ticket booth. A small brass object rested on the ledge, half-buried in decades of accumulated dirt. She picked it up. Cold metal bit into her palm. The casing bore a patina of verdigris, green and flaky, yet the needle inside spun wildly, ignoring magnetic north. Sigils etched into the face glowed with a faint, sickly purple light before fading back to dull brass. A Veil Compass. The leather of her worn watch strap creaked as she tightened her grip. She had seen drawings of these in Morris's case files three years ago. Files marked *Closed* by order of the Commissioner. Files that smelled of cover-ups and fear. "This doesn't belong here," she whispered. "Doesn't belong where?" Davies called out from the body. "It's an antique shop drop? Camden's full of that junk." "Antiques don't point to rifts in reality, Davies." Quinn turned the compass over. The needle stopped spinning and locked onto the tunnel wall behind the ticket booth. A section of peeling paint and cracked tile. Nothing special. Except the air around it shimmered like heat haze on a summer road, distorting the graffiti behind it. She stepped closer. The smell of myrrh intensified, choking her. Her skin prickled, every hair on her arms standing at attention. This was the same energy signature from the Morris file. The same wrongness that had swallowed her partner whole. "Guv?" Davies's voice sounded distant, muffled as if coming through water. "You're bleeding." Quinn looked down. A thin line of red trickled from her nose onto her chin. She wiped it away with the back of her gloved hand. The blood looked black in the dim light. "The compass," she said, her voice steady despite the sudden hammering of her heart. "It's not pointing at a location. It's pointing at a door." "A door?" Davies moved closer, his torch beam cutting through the shimmering air. "There's no door there. Just the maintenance shaft. Sealed since the nineties." "Sealed for humans." Quinn holstered the compass in her jacket pocket. The metal burned against her hip. She pulled her service weapon, the weight of it familiar and grounding. The safety clicked off with a sharp snap. "Step back, Davies." "What are you doing?" "Opening the door." "You can't shoot a wall, Guv. That's protocol violation number one." "Watch me." Quinn raised the gun. She didn't aim at the bricks. She aimed at the shimmer in the air, the spot where the compass needle pointed with unwavering certainty. The air hummed, a low frequency vibration that rattled her teeth. The shadows behind the ticket booth began to writhe, detaching themselves from the wall. Something moved in the distortion. Not a person. Too tall. Too many limbs. It unfolded from the darkness like a spider emerging from a crack in the pavement. Davies gasped, stumbling backward. "Holy hell. What is that?" "Trouble." The creature stepped fully into the light. Its skin resembled wet slate, shifting and rippling as if made of liquid stone. Eyes, too many of them, opened across its torso, each one a different shade of violet. It held no weapon. It didn't need one. The air around it warped, bending the light from Davies's torch into strange, impossible angles. "That's not possible," Davies breathed, his face draining of all color. "That's not... we don't have monsters in London." "We do now." The creature tilted its head. A sound erupted from it, not a roar, but a chorus of whispers speaking in a language that hurt Quinn's ears. Ancient. Guttural. Familiar. Morris had scribbled those same symbols in his final notebook before he disappeared. "Davies, get to the exit," Quinn ordered, her finger tightening on the trigger. "Call it in. Tell them we have a code black. Tell them the Veil is breached." "I'm not leaving you!" "That's an order, Constable. Run." Davies hesitated, his eyes wide with terror, before turning and sprinting toward the tunnel entrance. His footsteps echoed frantically against the tiles. The creature took a step forward. The floor tiles cracked under its weight, spiderwebbing out in perfect geometric patterns. It raised a hand, fingers elongating into razor-sharp talons. Quinn fired. The bullet struck the creature in the chest. Instead of penetrating, the round flattened against the slate skin, dropping to the floor with a dull ping. The creature didn't even flinch. It laughed, a sound like grinding stones. "Bullets won't work," Quinn realized, the cold dread settling in her stomach. "Morris found that out the hard way." The creature lunged. Quinn dove to the left, rolling behind the rotting wooden counter of the ticket booth. Splinters flew as the talons sliced through the wood where her head had been a second before. Dust choked her lungs. She scrambled to her feet, clutching the compass in one hand and her gun in the other. The needle glowed brighter, pulsing in time with the creature's movements. It wasn't just pointing at the rift. It was reacting to the beast. An idea sparked. Dangerous. Stupid. The kind of plan Morris would have loved. Quinn stepped out from behind the counter. She held the compass up, aiming the face directly at the creature. "Hey! Ugly!" The beast paused, its multiple eyes fixing on the brass disk. A low growl vibrated through the station, shaking loose more debris from the ceiling. "You want this?" Quinn shouted, her voice echoing off the curved tunnel walls. "Come and get it!" She threw the compass. It arced through the air, spinning end over end, the sigils blazing with sudden, brilliant light. The creature shrieked, a sound of pure agony, and lunged for the falling object. It caught the compass in mid-air, clutching it to its chest. The reaction was instantaneous. A shockwave of purple energy erupted from the compass. The creature howled as the light consumed it, burning through the slate skin. The rift behind it widened, swirling into a vortex of chaotic colors. The suction pulled at Quinn's clothes, dragging her toward the ticket booth. She dug her boots into the cracked tiles, grabbing hold of a rusted metal railing to anchor herself. The creature stumbled, its form destabilizing. It looked at Quinn, its eyes filled with a hatred that transcended species, before the vortex swallowed it whole. The compass flew from its grip, tumbling through the air toward Quinn. She snatched it out of the air just as the rift began to collapse. The walls groaned, tiles popping loose and raining down like hail. The station shook violently, threatening to bring the entire tunnel down on top of them. "Quinn!" Davies screamed from the tunnel entrance. "The whole place is coming down!" Quinn sprinted toward him, the compass clutched tight in her fist. The ground beneath her feet rippled like water. Cracks opened in the platform, revealing nothing but swirling darkness below. She leaped over a widening chasm, landing hard on the other side, her ankle twisting with a sickening pop. Pain shot up her leg, but she ignored it, limping forward with renewed urgency. Davies grabbed her arm, hauling her toward the exit stairs. "Move, Guv, move!" They scrambled up the steps, the roar of the collapsing tunnel chasing them like a freight train. Dust billowed behind them, thick and choking. The emergency lights flickered and died, plunging the lower platform into absolute darkness, save for the fading purple glow of the dying rift. They burst out onto the street level, gasping for air, just as the ground beneath the abandoned station gave a final, thunderous heave. A sinkhole opened up in the middle of the road, swallowing the entrance to the Tube station whole. Cars parked nearby tilted dangerously toward the new abyss. Sirens wailed in the distance, growing louder by the second. Quinn leaned against a brick wall, clutching her side. Her breath came in ragged gasps. She looked down at her hand. The compass sat there, warm and humming, the needle still spinning wildly. Davies stared at the hole in the road, his face ashen. "What... what just happened?" Quinn pocketed the compass, her eyes hardening. She touched the spot on her uniform where Morris's badge used to sit before they retired it. "That," she said, pushing off the wall and straightening her jacket despite the pain in her ankle, "was just the appetizer." She turned toward the approaching police cars, her hand resting on the grip of her weapon. "And I know exactly who served it."
created_at"2026-02-19T03:52:53.885Z" 2/19/2026, 3:52:53 AM
model"qwen/qwen3.5-plus-20260216"
app_id182717
external_user(null)
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cancelledfalse
latency1057
moderation_latency(null)
generation_time39751
tokens_prompt4671
tokens_completion2929
native_tokens_prompt4518
native_tokens_completion2532
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
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origin"https://ncbench.com/"
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finish_reason"stop"
native_finish_reason"stop"
usage0.007884
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provider_responses
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endpoint_id"71e0f6c3-7815-4734-92d3-8a04f3b0ca91"
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is_byokfalse
latency1057
model_permaslug"qwen/qwen3.5-plus-20260216"
provider_name"Alibaba"
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api_type"completions"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences52
tagDensity0.346
leniency0.692
rawRatio0
effectiveRatio0
97.33% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1876
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
38.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1876
totalAiIsms23
found
0
word"perfect"
count2
1
word"shattered"
count1
2
word"weight"
count3
3
word"echoed"
count2
4
word"traced"
count1
5
word"scanned"
count1
6
word"predator"
count1
7
word"magnetic"
count1
8
word"etched"
count1
9
word"shimmered"
count1
10
word"familiar"
count2
11
word"unwavering"
count1
12
word"footsteps"
count1
13
word"stomach"
count1
14
word"vibrated"
count1
15
word"echoing"
count1
16
word"chaotic"
count1
17
word"flickered"
count1
highlights
0"perfect"
1"shattered"
2"weight"
3"echoed"
4"traced"
5"scanned"
6"predator"
7"magnetic"
8"etched"
9"shimmered"
10"familiar"
11"unwavering"
12"footsteps"
13"stomach"
14"vibrated"
15"echoing"
16"chaotic"
17"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
emotionTells1
narrationSentences162
matches
0"e with terror"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences162
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences196
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen23
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1871
ratio0.001
matches
0"Closed"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
74.24% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions55
wordCount1584
uniqueNames15
maxNameDensity1.52
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
London1
Underground1
Harlow1
Quinn24
Met1
Davies14
Italian1
Camden1
West1
End1
Veil1
Compass1
Morris5
Commissioner1
Tube1
persons
0"Harlow"
1"Quinn"
2"Met"
3"Davies"
4"Compass"
5"Morris"
places
0"London"
1"West"
2"End"
3"Tube"
globalScore0.742
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount2
matches
0"seemed deeper than the rest, swallowing the light from the emergency strips"
1"as if coming through water"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.534
wordCount1871
matches
0"not a roar, but a chorus of whispers speaking in a language"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences196
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs77
mean24.3
std18.97
cv0.781
sampleLengths
074
119
226
360
420
526
657
79
811
923
101
117
1251
1335
1418
1510
1617
1766
183
1941
206
2119
228
2347
2440
2513
2634
2725
2825
293
3034
313
324
333
3411
352
3653
3728
389
391
4060
4119
423
4329
4413
4529
464
475
4822
4928
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences162
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs277
matches
0"was reacting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences196
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1589
adjectiveStacks1
stackExamples
0"faint, sickly purple light"
adverbCount27
adverbRatio0.016991818753933293
lyAdverbCount9
lyAdverbRatio0.005663939584644431
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences196
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences196
mean9.55
std5.4
cv0.565
sampleLengths
011
123
218
34
418
519
619
77
85
920
107
117
1221
1314
146
1510
1616
1714
187
1910
204
217
222
231
2412
259
268
273
2812
2911
301
317
327
3313
349
3513
369
3715
3815
395
4013
415
4210
4315
442
455
4614
474
486
4919
57.14% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3826530612244898
totalSentences196
uniqueOpeners75
67.57% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences148
matches
0"Just a clean cut and"
1"Too many limbs."
2"Instead of penetrating, the round"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences148
matches
0"She did not flinch."
1"she muttered, the name slipping"
2"She pulled a latex glove"
3"She reached out, hovering her"
4"It didn't smell right."
5"Her eyes landed on the"
6"She walked toward it, her"
7"She reached the ticket booth."
8"She picked it up."
9"She had seen drawings of"
10"She stepped closer."
11"Her skin prickled, every hair"
12"She wiped it away with"
13"she said, her voice steady"
14"She pulled her service weapon,"
15"She didn't aim at the"
16"She aimed at the shimmer"
17"It unfolded from the darkness"
18"Its skin resembled wet slate,"
19"It held no weapon."
ratio0.284
0.54% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount136
totalSentences148
matches
0"Blood pooled in the perfect"
1"Detective Harlow Quinn stepped over"
2"The air tasted of ozone"
3"She did not flinch."
4"she muttered, the name slipping"
5"PC Davies stood by the"
6"Quinn crouched beside the remains."
7"The body lay severed at"
8"Davies said, shifting his weight"
9"She pulled a latex glove"
10"The sound echoed down the"
11"She reached out, hovering her"
12"It didn't smell right."
13"The specific, cloying smell of"
14"Davies leaned in, his torch"
15"Quinn traced the air above"
16"Quinn stood up and scanned"
17"The station sat abandoned, a"
18"Graffiti covered the peeling advertisements"
19"Rats scurried in the shadows,"
ratio0.919
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences148
matches(empty)
ratio0
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount6
matches
0"Detective Harlow Quinn stepped over the yellow tape, her boots crunching on shattered glass that glittered like crushed diamonds under the emergency lights."
1"The body lay severed at the waist, dressed in expensive Italian wool that smelled of lavender and expensive dry cleaning."
2"The air hummed, a low frequency vibration that rattled her teeth."
3"Its skin resembled wet slate, shifting and rippling as if made of liquid stone."
4"It looked at Quinn, its eyes filled with a hatred that transcended species, before the vortex swallowed it whole."
5"She leaped over a widening chasm, landing hard on the other side, her ankle twisting with a sickening pop."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount7
matches
0"PC Davies stood, his face pale under the flickering fluorescent strip"
1"she said, her voice steady despite the sudden hammering of her heart"
2"Davies moved, his torch beam cutting through the shimmering air"
3"Davies breathed, his face draining of all color"
4"Quinn ordered, her finger tightening on the trigger"
5"Quinn realized, the cold dread settling in her stomach"
6"Quinn shouted, her voice echoing off the curved tunnel walls"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount8
fancyTags
0"she muttered (mutter)"
1"Quinn ordered (order)"
2"Quinn snapped (snap)"
3"she whispered (whisper)"
4"Davies breathed (breathe)"
5"Quinn ordered (order)"
6"Quinn shouted (shout)"
7"Davies screamed (scream)"
dialogueSentences52
tagDensity0.231
leniency0.462
rawRatio0.667
effectiveRatio0.308
80.4287%