Run: 2026-02-19-01KHT0M0NJTXPQEX90CJ2X9HT4

Run Details

Duration:
60.0s
Cost:
$0.002118
Provider:
Novita

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
The air tore with a sound like ripping silk. One moment they were crammed in the back of Silas’s van, parked in a lay-by off the Petersham Road, the cold London drizzle misting the windscreen. The next, a sudden pressure drop made Rory’s ears pop, and Isolde’s hand was on her arm, guiding her through a gap in the ancient oaks that looked no wider than a bicycle. They stepped through, and the world fell silent. “Bloody hell,” Eva breathed, her voice small in the sudden hush. The transition wasn’t a journey. It was a substitution. The dripping trees and the distant hum of the A316 were gone. In their place stood a ring of towering, gnarled oaks, their bark silvered like old coins under a sky that was simultaneously the deep indigo of twilight and lit by a soft, sourceless glow. No moon, no stars, just a luminous ceiling that made everything look sharp-edged and dreamlike. The air tasted different, too, clean and cold and faintly sweet, like crushed mint and black earth. Rory’s left wrist prickled. The crescent scar felt taut. She looked down, expecting to see it glowing. It wasn’t. But the pendant against her sternum was a sudden, pulsing warmth beneath her jumper. “You feel it,” Isolde said, her voice a quiet bell in the stillness. She stood a few paces ahead, her silver hair blending with the spectral light. She left no prints in the thick carpet of moss. “The boundary. It hums for those who listen.” “It smells like my gran’s garden after a storm,” Eva said, her usual bravado softened by awe. She crouched, running her fingers through the moss. Tiny, phosphorescent blue flowers sparked at her touch. “Glowy plants. New one.” Nyx flowed from the shadow of the nearest oak, their form solidifying from a column of ink into their humanoid silhouette. The faint violet glow of their eyes scanned the grove. “The stillness is… layered. Not empty. Waiting.” Rory took a step forward. The moss sank under her trainers, silent as a memory. “Time moves differently here, you said.” “An hour can be a minute. A day can be an hour.” Isolde began to walk, her movements so fluid she seemed to drift. “Do not think of clocks. Think of breath. Your own. The world’s.” They followed her deeper into the grove. The oaks gave way to a wilder, denser wood. Trees twisted in impossible spirals, their bark patterned like reptile skin. Vines hung heavy with blossoms that chimed softly in a non-existent breeze. The sound was crystalline, like distant wind chimes made of glass. “This is…” Eva started, then just shook her head. “It’s not London,” Rory finished, her own voice hushed. Every instinct, honed by years of studying tort law and navigating late-night deliveries through Shepherd’s Bush, screamed that this was wrong. The angles were off. The light had no origin. Yet, a deeper, quieter part of her, the part that had first felt the pendant’s warmth, whispered that it was simply *other*. Not wrong. Different. A path of pale, smooth stones appeared underfoot, winding between two massive, weeping willows whose leaves shimmered with opalescent dew. As they passed, the dew-drops detached, floating upward to join the glowing canopy. “Tribute,” Isolde said, not looking back. “Or memory. The trees remember the sky.” They emerged into a clearing. A small, perfectly circular pool of black water lay at its centre, so still it looked like a disc of polished obsidian set into the earth. Around its rim, flowers bloomed in violent, impossible profusion: roses the colour of arterial blood, lilies with petals of beaten gold, strange trumpet-shaped blooms that pulsed with a slow, inner light. The air here was warmer, thick with perfume. “Don’t touch the water,” Isolde said, her tone losing its dreamy quality for a sharp, clear warning. “It doesn’t forget what it holds.” Rory approached the edge, careful to keep her feet on the moss. Her reflection stared back, wide-eyed and pale. Then the image shivered. For a heartbeat, she saw not herself, but a woman with fiery hair and a crown of twisted brambles, screaming silently. The vision vanished. She stumbled back, her heart hammering against the warm pendant. “What was that?” “An echo.” Isolde’s lavender eyes held hers. “The pool shows what has been. Sometimes what will be. Often, it simply shows what is most true. A dangerous gift.” Nyx had drifted to the far side of the clearing. They stood before a low, moss-covered archway formed from the interlocked roots of two vast, ancient trees. Beyond it, the grove seemed to deepen into a thicker, darker wood where the luminous air frayed into shadows. “There is a pull here,” Nyx whispered, their voice the brush of dry leaves. “A… thinness.” Isolde joined them. “A place where the Veil is tissue. A scar. My kind find them… uncomfortable.” She looked at Rory. “Your token. Does it speak?” Rory pulled the pendant from under her jumper. The deep crimson gemstone wasn’t just warm now; it was hot. A faint, rhythmic glow emanated from its core, casting a bloody light on her fingers. It pulsed in time with the sudden, frantic beat of her heart. “It’s like a heartbeat.” “It senses a door,” Nyx said. “A rift point. Weak. But present.” Eva, who had been examining a gold lily with the caution of a bomb disposal expert, looked over. “A door to where? More of this?” “To Dymas,” Rory said, the name feeling heavy and greasy on her tongue. “The gluttony realm.” A heavy silence fell, broken only by the chiming of the distant glass-flowers. The wonder of the place curdled, the beauty turning watchful, predatory. Isolde’s gaze was distant, fixed on the archway of roots. “The Veil is not a wall. It is a membrane. It breathes. It sickens. Places like this… they are where the sickness festers. Where things slip through.” “What kind of things?” Eva asked, her hand drifting to the iron poker she’d insisted on bringing, hidden in her long coat. Before Isolde could answer, a new sound cut through the grove’s music. A wet, rhythmic *tearing*. It came from beyond the root-arch, in the deeper dark. It was the sound of something rending fabric, or flesh, followed by a low, guttural swallowing. Rory’s pendant flared, a single, searing pulse of heat that made her gasp. From the darkness under the arch, a shape detached itself. It was low to the ground, moving with a slithering, undulant gait. It was the colour of a week-old bruise, its skin glistening under the grove’s light. It had no clear head, just a bulbous front end that split open vertically into a maw lined with rows of hook-like, translucent teeth. As it moved, it dragged a distended, sack-like belly across the moss. It stopped at the edge of the shadow, just beyond the arch. The maw opened and closed with a soft, sucking *pop*. It had no eyes, but the entire front of its body seemed to orient towards them, towards the pulsing light of Rory’s pendant. “A leech,” Nyx murmured, their shadow-form flickering at the edges. “A minor thing. A scavenger that feeds on spilled magic, on emotions left to rot. It should not be here.” “The thin place,” Isolde said, her voice tight. “It must have oozed through. Drawn by the residue of passage.” The creature’s maw opened wider, and it emitted a high, thin whistle that set Rory’s teeth on edge. In answer, a second wet tearing sound came from the darkness behind it. Then a third. “It’s not alone,” Eva said, hefting the poker. The iron looked pitifully small. Rory’s mind, that cool-headed, problem-solving part, kicked into gear even as her pulse thundered in her ears. *Alien environment. Unknown threats. No clear exit.* She fumbled under her jacket, her fingers closing on the cold, always-cold hilt of the slender dagger Isolde had given her. The Fae-forged blade. As she drew it, the moonsilver caught the grove’s light and glowed with a faint, blue-white radiance. The first leech lunged. It moved faster than its bloated form suggested, a sudden blur of mottled flesh surging across the moss. Its target wasn’t Eva with her iron, or Nyx with their shadow, or Isolde with her otherness. It surged straight for Rory, for the warm, pulsing beacon of the Heartstone against her chest.
created_at"2026-02-19T03:55:39.076Z" 2/19/2026, 3:55:39 AM
model"deepseek/deepseek-v3.2-20251201"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1350
moderation_latency(null)
generation_time59948
tokens_prompt5338
tokens_completion2180
native_tokens_prompt4950
native_tokens_completion1966
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"
usage0.00211795
router(null)
provider_responses
0
endpoint_id"8a5fb6d3-ef71-4958-af54-269ffa3a3c6e"
id"57e01a14b81a8e43b4e3a13956fb4529"
is_byokfalse
latency1350
model_permaslug"deepseek/deepseek-v3.2-20251201"
provider_name"Novita"
status200
api_type"completions"
id"gen-1771473339-w3lNdJxg5Sr9hUpMzqd9"
upstream_id"57e01a14b81a8e43b4e3a13956fb4529"
total_cost0.00211795
cache_discount(null)
upstream_inference_cost0
provider_name"Novita"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags17
adverbTagCount1
adverbTags
0"Eva started then [then]"
dialogueSentences35
tagDensity0.486
leniency0.971
rawRatio0.059
effectiveRatio0.057
92.93% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1415
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"perfectly"
count1
highlights
0"softly"
1"perfectly"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Lily"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
18.73% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1415
totalAiIsms23
found
0
word"silk"
count1
1
word"warmth"
count2
2
word"spectral"
count1
3
word"scanned"
count1
4
word"crystalline"
count1
5
word"navigating"
count1
6
word"shimmered"
count1
7
word"pulsed"
count2
8
word"echo"
count1
9
word"rhythmic"
count2
10
word"silence"
count1
11
word"searing"
count1
12
word"pulse"
count2
13
word"glistening"
count1
14
word"maw"
count3
15
word"thundered"
count1
16
word"beacon"
count1
highlights
0"silk"
1"warmth"
2"spectral"
3"scanned"
4"crystalline"
5"navigating"
6"shimmered"
7"pulsed"
8"echo"
9"rhythmic"
10"silence"
11"searing"
12"pulse"
13"glistening"
14"maw"
15"thundered"
16"beacon"
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
narrationSentences102
matches(empty)
72.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount4
narrationSentences102
filterMatches
0"look"
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)
analyzedSentences120
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords10
totalWords1397
ratio0.007
matches
0"other"
1"tearing"
2"pop"
3"Alien environment. Unknown threats. No clear exit."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
94.11% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1163
uniqueNames12
maxNameDensity1.12
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Silas1
Petersham1
Road1
London1
Rory13
Isolde12
Shepherd1
Bush1
Nyx6
Eva7
Fae-forged1
Heartstone1
persons
0"Silas"
1"Rory"
2"Isolde"
3"Bush"
4"Nyx"
5"Eva"
places
0"Petersham"
1"Road"
2"London"
3"Shepherd"
globalScore0.941
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount1
matches
0"looked like a disc of polished obsidian s"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.716
wordCount1397
matches
0"not herself, but a woman with fiery hair"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences120
matches
0"screamed that this"
1"whispered that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean33.26
std20.84
cv0.627
sampleLengths
09
167
211
387
433
545
637
738
821
936
1050
119
1264
1333
1413
1570
1623
1747
1813
1928
2062
2126
2250
2312
2425
2516
2624
2737
2822
2912
304
3126
3213
3373
3445
3530
3619
3734
3813
3965
404
4151
98.38% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences102
matches
0"were crammed"
1"were gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs186
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences120
ratio0.008
matches
0"The deep crimson gemstone wasn’t just warm now; it was hot."
82.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1181
adjectiveStacks3
stackExamples
0"strange trumpet-shaped blooms"
1"low, moss-covered archway"
2"faint, blue-white radiance."
adverbCount29
adverbRatio0.024555461473327687
lyAdverbCount11
lyAdverbRatio0.009314140558848433
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences120
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences120
mean11.64
std7.1
cv0.61
sampleLengths
09
126
233
38
411
55
64
712
834
915
1017
114
125
138
142
1514
1613
1714
1810
198
2017
218
228
234
2421
2510
267
275
2810
296
3024
3112
327
339
3411
3512
3611
379
389
3921
404
415
4222
432
441
4520
4613
476
487
495
55.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.375
totalSentences120
uniqueOpeners45
69.44% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences96
matches
0"Then the image shivered."
1"Then a third."
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences96
matches
0"They stepped through, and the"
1"It was a substitution."
2"She looked down, expecting to"
3"She stood a few paces"
4"She left no prints in"
5"She crouched, running her fingers"
6"They followed her deeper into"
7"They emerged into a clearing."
8"Her reflection stared back, wide-eyed"
9"She stumbled back, her heart"
10"They stood before a low,"
11"She looked at Rory"
12"It pulsed in time with"
13"It came from beyond the"
14"It was the sound of"
15"It was low to the"
16"It was the colour of"
17"It had no clear head,"
18"It stopped at the edge"
19"It had no eyes, but"
ratio0.24
53.75% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount78
totalSentences96
matches
0"The air tore with a"
1"The next, a sudden pressure"
2"They stepped through, and the"
3"Eva breathed, her voice small"
4"The transition wasn’t a journey."
5"It was a substitution."
6"The dripping trees and the"
7"The air tasted different, too,"
8"Rory’s left wrist prickled."
9"The crescent scar felt taut."
10"She looked down, expecting to"
11"Isolde said, her voice a"
12"She stood a few paces"
13"She left no prints in"
14"Eva said, her usual bravado"
15"She crouched, running her fingers"
16"Nyx flowed from the shadow"
17"The faint violet glow of"
18"Rory took a step forward."
19"The moss sank under her"
ratio0.813
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences96
matches
0"Yet, a deeper, quieter part"
1"Before Isolde could answer, a"
ratio0.021
63.49% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount6
matches
0"The next, a sudden pressure drop made Rory’s ears pop, and Isolde’s hand was on her arm, guiding her through a gap in the ancient oaks that looked no wider than…"
1"In their place stood a ring of towering, gnarled oaks, their bark silvered like old coins under a sky that was simultaneously the deep indigo of twilight and li…"
2"No moon, no stars, just a luminous ceiling that made everything look sharp-edged and dreamlike."
3"Vines hung heavy with blossoms that chimed softly in a non-existent breeze."
4"Yet, a deeper, quieter part of her, the part that had first felt the pendant’s warmth, whispered that it was simply *other*."
5"Rory’s pendant flared, a single, searing pulse of heat that made her gasp."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount8
matches
0"Eva breathed, her voice small in the sudden hush"
1"Isolde said, her voice a quiet bell in the stillness"
2"Isolde began, her movements so fluid she seemed to drift"
3"Isolde said, not looking back"
4"Nyx whispered, their voice the brush of dry leaves"
5"Rory said, the name feeling heavy and greasy on her tongue"
6"Nyx murmured, their shadow-form flickering at the edges"
7"Isolde said, her voice tight"
64.29% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount3
fancyTags
0"Eva breathed (breathe)"
1"Nyx whispered (whisper)"
2"Nyx murmured (murmur)"
dialogueSentences35
tagDensity0.343
leniency0.686
rawRatio0.25
effectiveRatio0.171
84.8318%