Run: 2026-02-19-01KHT0K43W1RZYM2JWY1KMWWBM

Run Details

Duration:
55.7s
Cost:
$0.062658
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <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> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Gravity lurched sideways, slamming the air out of my lungs. I hit the ground hard, the taste of ozone and bile stinging the back of my throat. The cold, damp stone of the London underground was gone, replaced by a spongy, moss-like surface that gave way under my weight with a wet squelch. "Move." Nyx’s voice, a hiss of static and wind, scraped against my ears. I scrambled up, boots sinking inches deep into the turf. My stomach rolled. The air here was thick, heavy enough to chew, cloying with the scent of roasted meat, fermentation, and flowers so sweet they bordered on rot. "Rory. The blade." I drew the Fae-forged dagger from my belt before my eyes had fully adjusted. The metal hummed, a cold vibration against the crescent scar on my left wrist. It sensed something I couldn't. "Check the perimeter," I choked out, wiping sweat from my forehead. It was sweltering. Not the dry heat of a desert, but the humid, suffocating warmth of a greenhouse. "Rest easy, child of iron." Isolde swept past me. Her silver hair, usually a cascade of moonlight, reflected the strange hues of this place. She glided over the sodden ground, her feet leaving no impression in the muck that threatened to swallow my boots. "The immediate threat has passed. We are merely... digested." I blinked the spots from my vision. Above us, the sky burned. It wasn't the grey of Cardiff or the black of the void, but a bruised, amber expanse, churning with golden clouds that looked uncomfortably like fat separating in a pan. A second sun—or perhaps a moon, it was too large to tell—hung low on the horizon, bloated and crimson. "Where are we?" I asked, though the Heartstone pendant beneath my shirt already answered. It burned against my sternum, a rhythmic thrumming that matched the pulse in my ears. It was home. Or at least, it thought it was. "Dymas," Nyx whispered. The Shade stood near a twisted, bulbous tree, their form flickering. The intense amber light seemed to boil the edges of their silhouette, forcing them to expend energy just to maintain a solid shape. Violet eyes burned from within the smoke. "The garden of excess. Gluttony's larder." I turned a slow circle. We stood at the edge of a sprawling vineyard that defied logic. The vines were as thick as tree trunks, coiled around trellises made of polished bone. Grapes the size of grapefruits hung in heavy, glistening clusters. They were dark, veined with pulsing blue lines, throbbing as if pumping blood rather than juice. "Don't touch anything," I said, eyeing a vine that seemed to lean toward me. "Isolde?" The seer plucked a dying leaf from the air before it hit the ground. It turned to ash in her pale fingers. "This realm is hungry, Aurora. It gives so that it may take. Look closer." I stepped toward the nearest vine. The bark wasn't wood. It was textured, pore-ridden. *Skin.* I recoiled, hand tightening on the moonsilver hilt of my dagger. "Jesus." "Belphegor has grand tastes," Nyx said, drifting away from the light and into the shade of the grotesque vines. "He grows his vintages from the finest stock." "Souls?" I asked. "Something far more tangible." Isolde pointed a manicured finger down the row of vines. "Flesh. The soil here is composted from those who lost themselves to the feast." A shiver worked its way down my spine despite the oppressive heat. We needed to move. Standing still felt like an invitation for the moss to grow over my boots and pull me down into the compost. "We need to find the exit vector," I said, forcing my voice into the commanding tone I used when a delivery went sideways at the Golden Empress. "Nyx, can you shadow-step us through?" "The shadows here are... thin." Nyx sounded strained. They reached out a hand, and the darkness beneath a vine rippled but failed to form a portal. "The light is oily. It clings. I cannot traverse the spaces between until night falls. If night falls." "No night in Dymas," Isolde said, staring at the amber sky. "Only the eternal golden hour. The time of supper." "Fantastic. We walk." I adjusted my grip on the dagger and started down the row, stepping carefully to avoid the writhing roots. "Isolde, keep your eyes on the timeline. If you see a path that doesn't lead to us being eaten, holler." "I see many paths," she murmured, floating beside me. "Most are seasoned with paprika." "Not helpful." "One path smells of old iron and regret. We follow that." We pushed deeper into the vineyard. The silence of the place was unnerving. There were no birds, no insects. Just the wet sound of the plants growing, a constant *squelch* and *stretch* that sounded like knuckles cracking under water. The sweet smell intensified, mixing with something sharper—vinegar and copper. My mouth watered involuntarily. It was a biological response to the scent, primal and disgusting. I hurried my pace, trying to ignore the hunger pangs suddenly cramping my stomach. "Control it," Nyx warned, appearing at my left shoulder. "The air carries enzymes. It wants you to feed." "I'm fine because I haven't eaten since breakfast," I snapped, though my gaze lingered on a cluster of the pulsing grapes. They looked impossibly thirst-quenching. One bite. Just to wet my throat. *No.* I bit the inside of my cheek until the metallic tang of my own blood broke the trance. The vineyard abruptly ended, giving way to a manicured garden of horrors. Fountains carved from obsidian spewed thick, red wine into basin pools. Statues depicting figures in throes of ecstasy—or agony, the line was blurred—lined a path of crushed pearl. And ahead, looming like a tumor on the landscape, sat a villa. It was colossal, a sprawling monstrosity of white stone and gold filigree. But the angles were wrong. The columns bulged in the middle; the windows looked like heavy-lidded eyes. "The Seat of the Prince?" I whispered. "A pantry," Isolde corrected. She stopped, her ethereal form shimmering. "We are not alone." I froze. "Where?" "Everywhere." A rustle from the hedges to our right. I spun, raising the dagger. A creature stumbled onto the path. It might have been human once, or Fae, or something else entirely. Now, it was a sphere of flesh. Its skin was stretched translucent over layers of yellow fat, weeping oil. It had no legs, only calloused hands that it used to drag its immense bulk forward. Its mouth was a gaping, circular maw lined with rows of flat grinding teeth. It ignored us. It dragged itself toward the wine fountain, plunging its face into the red liquid with a desperate, gurgling sob. "A Glutton," Nyx noted, voice devoid of pity. "A resident." "It's suffering," I said, watching the creature gorge itself until its skin began to tear. "It is in paradise," Isolde said softly. "This is what it wanted. Endless consumption." "It's grotesque." I turned away, nausea rising again. "Aurora," Nyx hissed. I looked back. The creature had stopped drinking. It lifted its head, red wine streaming from its jowls. Its eyes, buried deep within folds of flesh, fixed on me. Or rather, on the pendant. The Heartstone flared, burning hot against my skin. The red light pulsed through my shirt, casting a bloody glow on the crushed pearls. The creature shrieked. It wasn't a vocal sound but the noise of air being forced through a blocked pipe. "Run?" I suggested. "Run," Nyx agreed. The creature lunged—far faster than something that size had any right to move. It propelled itself with massive, distorted arms. I dodged left, diving over a low hedge of razor-sharp briars. The creature smashed into the spot where I’d been standing, cracking the pearl path. "Left flank!" Isolde called out, pointing not with her hand but with her will. I scrambled up and sprinted toward the treeline of the garden. Behind us, the shriek was answered. From the villa, from the fountains, from the depths of the vineyard—a chorus of wet, hungry wails erupted. The dinner bell had rung. "To the heavyymetal gate!" I shouted, spotting iron bars set into a stone archway ahead. Nyx dissolved into smoke, reforming ten feet ahead, then dissolving again, flickering forward. Isolde simply was there, then here, moving without traversing the space between. I was the only one actually running, my boots pounding against the opulent tiles. Heavy slaps of flesh against stone echoed behind me. The ground shook. I reached the gate. Locked. Of course. "Nyx!" The Shade slammed a solid hand of darkness against the lock. "Warded. Blood magic." I looked back. The first creature was gaining, and three more were pulling themselves out of the wine fountains. They were massive, wet, and unstoppable. "Isolde, can you open it?" "I cannot undo what has been sealed by appetite. The gate requires a tithe." The Heartstone seared my chest. It wanted to be used. I gripped the pendant through the fabric of my shirt. *Open,* I thought, pushing my will into the stone. *Open, you bastard.* The stone didn't respond to the thought. It responded to the proximity of the realm. It drank the ambient energy—the lust, the hunger, the excess. The gate groaned. The iron bars twisted, growing teeth, forming a mouth. "A tithe!" The gate spoke, its voice the grinding of metal on bone. "Meat for the passage!" The lead creature was twenty feet away. Its maw opened, wide enough to swallow me whole. "I don't have meat!" I yelled at the gate. "Then bone!" the gate roared. I looked at the creature. Then at the gate. Then at the Fae blade in my hand. "Isolde, duck." I spun around, planting my feet. The creature launched itself, a flying boulder of hunger. I dropped to my knees, sliding forward on the slick tiles, and thrust the moonsilver blade upward. There was no resistance. The Fae metal sheared through fat, muscle, and ribs. I rolled aside as the creature’s momentum carried it past me—and straight into the gnashing teeth of the iron gate. The gate clamped down. Metal crunched through the monstrosity. A sprays of hot, oily blood coated me from head to toe. The gate chewed, the sound deafening, drowning out the screams of the others closing in. "Go!" I scrambled through the small gap appearing as the gate’s jaw unhinged to swallow its meal. I grabbed Nyx’s corporeal arm and hauled them through, Isolde flowing right behind us. We tumbled onto a cold stone floor, the heat of the garden instantly replaced by a subterranean chill. The gate slammed shut behind us, sealing with a satisfied burp. Silence returned. I lay on my back, chest heaving, wiping the creature's blood from my eyes. It tasted like spoiled vintage port. "Acceptable improvisation," Nyx whispered, dusting off their shadowy coat. I sat up, coughing. "Where are we now?" Isolde stood, her silver pristine, untouched by the gore that covered me. She looked into the darkness of the corridor stretching ahead. Torchlight flickered far down the hall, revealing shadows that swayed in time to distant music. "Out of the larder," she said, her voice dropping to a terrifyingly sombre register. "And into the kitchen." A heavy set of double doors at the end of the hall creaked open. A tall, thin silhouette stood backlit by the roaring fires of the ovens beyond. It held a cleaver the size of a tombstone. "Fresh ingredients," a voice boomed, rattling the stones in the wall. I gripped my dagger, though my hand was shaking. "Seven hells."
created_at"2026-02-19T03:55:09.842Z" 2/19/2026, 3:55:09 AM
model"google/gemini-3-pro-preview-20251117"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2896
moderation_latency(null)
generation_time55580
tokens_prompt5338
tokens_completion3647
native_tokens_prompt5247
native_tokens_completion4347
native_tokens_completion_images0
native_tokens_reasoning1643
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"
usage0.062658
router(null)
provider_responses
0
endpoint_id"c9badacd-c552-40a2-86e6-4b4e8dd4318f"
is_byokfalse
latency2896
model_permaslug"google/gemini-3-pro-preview-20251117"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771473309-guGQIUGzXYY1vrbvSfnE"
upstream_id(null)
total_cost0.062658
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags33
adverbTagCount2
adverbTags
0"Isolde said softly [softly]"
1"I turned away [away]"
dialogueSentences64
tagDensity0.516
leniency1
rawRatio0.061
effectiveRatio0.061
92.31% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1951
totalAiIsmAdverbs3
found
0
adverb"carefully"
count1
1
adverb"suddenly"
count1
2
adverb"softly"
count1
highlights
0"carefully"
1"suddenly"
2"softly"
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)
30.80% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1951
totalAiIsms27
found
0
word"lurched"
count1
1
word"weight"
count1
2
word"stomach"
count2
3
word"warmth"
count1
4
word"churning"
count1
5
word"rhythmic"
count1
6
word"pulse"
count1
7
word"glistening"
count1
8
word"pumping"
count1
9
word"tangible"
count1
10
word"down my spine"
count1
11
word"oppressive"
count1
12
word"silence"
count2
13
word"looming"
count1
14
word"maw"
count2
15
word"streaming"
count1
16
word"pulsed"
count1
17
word"depths"
count1
18
word"pounding"
count1
19
word"echoed"
count1
20
word"chill"
count1
21
word"pristine"
count1
22
word"flickered"
count1
23
word"roaring"
count1
highlights
0"lurched"
1"weight"
2"stomach"
3"warmth"
4"churning"
5"rhythmic"
6"pulse"
7"glistening"
8"pumping"
9"tangible"
10"down my spine"
11"oppressive"
12"silence"
13"looming"
14"maw"
15"streaming"
16"pulsed"
17"depths"
18"pounding"
19"echoed"
20"chill"
21"pristine"
22"flickered"
23"roaring"
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
narrationSentences173
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences173
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences204
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans6
markdownWords8
totalWords1936
ratio0.004
matches
0"Skin."
1"squelch"
2"stretch"
3"No."
4"Open,"
5"Open, you bastard."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions25
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions34
wordCount1645
uniqueNames10
maxNameDensity0.67
worstName"Nyx"
maxWindowNameDensity1.5
worstWindowName"Nyx"
discoveredNames
London1
Fae-forged1
Cardiff1
Heartstone3
Shade2
Isolde9
Golden1
Empress1
Nyx11
Fae4
persons
0"Heartstone"
1"Shade"
2"Isolde"
3"Nyx"
places
0"London"
1"Cardiff"
2"Golden"
3"Fae"
globalScore1
windowScore1
25.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences120
glossingSentenceCount6
matches
0"as if pumping blood rather than juice"
1"vine that seemed to lean toward me"
2"felt like an invitation for the moss to"
3"sounded like knuckles cracking under water"
4"looked like heavy-lidded eyes"
5"tasted like spoiled vintage port"
96.69% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.033
wordCount1936
matches
0"Not the dry heat of a desert, but the humid, suffocating warmth of a greenhouse"
1"not with her hand but with her will"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences204
matches
0"stretch* that sounded"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs96
mean20.17
std14.59
cv0.723
sampleLengths
010
143
21
312
438
53
633
729
853
97
1054
1139
1250
1358
1415
1536
1615
1712
1827
193
2028
2137
2233
2344
2420
2542
2614
272
2811
2939
3039
3118
3232
331
3418
3540
3612
3729
387
3914
403
411
4213
436
4461
4522
4610
4715
4814
498
93.09% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences173
matches
0"was gone"
1"was textured"
2"was blurred"
3"was stretched"
4"being forced"
5"was answered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs298
matches
0"was sweltering"
1"was gaining, were pulling"
2"was shaking"
30.81% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount9
semicolonCount1
flaggedSentences8
totalSentences204
ratio0.039
matches
0"A second sun—or perhaps a moon, it was too large to tell—hung low on the horizon, bloated and crimson."
1"The sweet smell intensified, mixing with something sharper—vinegar and copper."
2"Statues depicting figures in throes of ecstasy—or agony, the line was blurred—lined a path of crushed pearl."
3"The columns bulged in the middle; the windows looked like heavy-lidded eyes."
4"The creature lunged—far faster than something that size had any right to move."
5"From the villa, from the fountains, from the depths of the vineyard—a chorus of wet, hungry wails erupted."
6"It drank the ambient energy—the lust, the hunger, the excess."
7"I rolled aside as the creature’s momentum carried it past me—and straight into the gnashing teeth of the iron gate."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1659
adjectiveStacks1
stackExamples
0"flowing right behind us."
adverbCount54
adverbRatio0.0325497287522604
lyAdverbCount17
lyAdverbRatio0.010247136829415311
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences204
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences204
mean9.49
std5.83
cv0.614
sampleLengths
010
117
226
31
412
510
63
725
83
914
1014
115
1211
133
1415
159
1615
1720
189
197
205
2130
2219
2314
2415
253
267
273
2811
2923
307
316
325
3312
3415
3510
3616
3714
381
3914
408
4114
426
434
444
451
4611
471
4819
498
49.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3382352941176471
totalSentences204
uniqueOpeners69
83.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences159
matches
0"Just the wet sound of"
1"Just to wet my throat."
2"Then at the gate."
3"Then at the Fae blade"
ratio0.025
26.29% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount77
totalSentences159
matches
0"I hit the ground hard,"
1"I scrambled up, boots sinking"
2"My stomach rolled."
3"I drew the Fae-forged dagger"
4"It sensed something I couldn't."
5"I choked out, wiping sweat"
6"It was sweltering."
7"Her silver hair, usually a"
8"She glided over the sodden"
9"I blinked the spots from"
10"It wasn't the grey of"
11"I asked, though the Heartstone"
12"It burned against my sternum,"
13"It was home."
14"I turned a slow circle."
15"We stood at the edge"
16"They were dark, veined with"
17"I said, eyeing a vine"
18"It turned to ash in"
19"I stepped toward the nearest"
ratio0.484
19.75% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount140
totalSentences159
matches
0"Gravity lurched sideways, slamming the"
1"I hit the ground hard,"
2"The cold, damp stone of"
3"Nyx’s voice, a hiss of"
4"I scrambled up, boots sinking"
5"My stomach rolled."
6"The air here was thick,"
7"I drew the Fae-forged dagger"
8"The metal hummed, a cold"
9"It sensed something I couldn't."
10"I choked out, wiping sweat"
11"It was sweltering."
12"Isolde swept past me"
13"Her silver hair, usually a"
14"She glided over the sodden"
15"I blinked the spots from"
16"It wasn't the grey of"
17"A second sun—or perhaps a"
18"I asked, though the Heartstone"
19"It burned against my sternum,"
ratio0.881
31.45% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences159
matches
0"Now, it was a sphere"
ratio0.006
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences70
technicalSentenceCount7
matches
0"She glided over the sodden ground, her feet leaving no impression in the muck that threatened to swallow my boots."
1"It wasn't the grey of Cardiff or the black of the void, but a bruised, amber expanse, churning with golden clouds that looked uncomfortably like fat separating …"
2"It burned against my sternum, a rhythmic thrumming that matched the pulse in my ears."
3"They were dark, veined with pulsing blue lines, throbbing as if pumping blood rather than juice."
4"I hurried my pace, trying to ignore the hunger pangs suddenly cramping my stomach."
5"I was the only one actually running, my boots pounding against the opulent tiles."
6"Torchlight flickered far down the hall, revealing shadows that swayed in time to distant music."
49.24% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags33
uselessAdditionCount5
matches
0"I snapped, though my gaze lingered on a cluster of the pulsing grapes"
1"Nyx noted, voice devoid of pity"
2"I turned away, nausea rising again"
3"The gate spoke, its voice the grinding of metal on bone"
4"she said, her voice dropping to a terrifyingly sombre register"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags26
fancyCount17
fancyTags
0"I choked (choke)"
1"Nyx whispered (whisper)"
2"she murmured (murmur)"
3"Nyx warned (warn)"
4"I snapped (snap)"
5"I whispered (whisper)"
6"Isolde corrected (correct)"
7"Nyx noted (note)"
8"Nyx hissed (hiss)"
9"I suggested (suggest)"
10"Nyx agreed (agree)"
11"Isolde called out (call out)"
12"I shouted (shout)"
13"The gate spoke (speak)"
14"I yelled (yell)"
15"the gate roared (roar)"
16"Nyx whispered (whisper)"
dialogueSentences64
tagDensity0.406
leniency0.813
rawRatio0.654
effectiveRatio0.531
76.4746%