Run: 2026-02-19-01KHT0PTKEB98993CDSWBYCGAJ

Run Details

Duration:
26.2s
Cost:
$0.009985
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The third deadbolt groaned, a reluctant, metallic shriek that echoed through the narrow hallway of the Brick Lane flat. I pulled the door open, expecting Eva with another stack of cursed parchment or perhaps a stray cat, but the weight of the air changed before I even saw his face. A scent of expensive sandalwood and something cold, like ozone before a thunderstorm, cut through the pervasive grease of the curry house downstairs. Lucien Moreau stood in the dim, flickering light of the landing. He looked exactly as he had six months ago—impeccable, infuriating, and entirely out of place in a hallway that smelled of turmeric and damp carpet. His charcoal suit didn't have a single crease, and the ivory handle of his cane caught the light of the lone, buzzing bulb overhead. "You're bleeding on the floorboards, Aurora." I looked down. A steady drip of crimson spiked against the warped wood, leaking from the knuckles I’d split open against a delivery van driver’s jaw an hour earlier. Adrenaline had masked the sting until now. "It’s my floor. I’ll bleed where I like." "Technically, it is Eva’s floor. And you are getting it on your shoes." He stepped forward, not waiting for an invitation. The tap-thud of his cane marked a rhythm I hadn't heard since the night I told him to go to hell in three different languages. "I didn't invite you in, Lucien." "The door is open. In my world, that is a lapse in security or a plea for company. Given your current state, I suspect the former." He bypassed me, moving into the cramped living room with the grace of a predator in a birdcage. Ptolemy, Eva’s fat tabby, didn't even hiss; he simply watched from a stack of 17th-century grimoires, his yellow eyes tracking the half-demon with wary respect. Lucien's heterochromatic eyes—one amber, one a void of pure black—swept over the chaos of the flat. He took in the overflowing bookshelves, the discarded takeout containers, and finally, my shaking hands. "The Golden Empress must be particularly demanding this evening," he remarked, his voice a smooth, low cello note. "Or did the ghost of your past finally catch up in a dark alley?" "Evan is in Cardiff. This was just a van driver who thought he could skip the tip and pinch my arse at the same time." "He has no hands left, I assume?" "He has a broken nose. I have a ruined shift." I slammed the door shut, the three deadbolts clicking home with finality. I leaned my back against the wood, watching him. "Why are you here? We settled the accounts in Soho. I don't owe you any more secrets, and you certainly don't owe me any protection." Lucien turned, the tip of his cane resting inches from a pile of Eva's research notes. The silver ring on his finger caught the light—a seal of the House of Avaros. "Accounts are never truly settled between people like us, Rory. We simply stop counting for a while." "I started counting the minutes since you left. I got to about two hundred thousand before I stopped caring." "Liar." He didn't say it with heat. He said it as a matter of fact, his amber eye narrowing slightly. "You care quite deeply. It is your most glaring tactical weakness." He reached into the inner pocket of his jacket and produced a silk handkerchief, white as a fresh shroud. He didn't offer it. He simply waited. I stayed by the door, the small crescent scar on my wrist throbbing in time with my pulse. Being in the same room as him felt like standing too close to a high-voltage wire. You could feel the hum in your teeth. "You look tired," he said. "I work for a living. Some of us don't have demonic trust funds." "I earned every centime I possess. Mostly by cleaning up the messes left by headstrong women who think a Cardiff law degree is a shield against the things that go bump in the East End." "I was doing fine until you walked in. I was going to have a gin and a bath." "You were going to sit in the dark and wonder if the footsteps on the stairs belonged to a debt collector or a hitman." Lucien moved closer. He didn't move like a human; there was a fluid, oily precision to his gait that bypassed the clutter of the room. He stopped just out of arm's reach. "The wards on this building are flickering. Eva is getting sloppy, or someone is dampening them from the street." I felt a cold prickle at the base of my neck. I’d noticed the shadows stretching longer than usual in the hallway, but I’d blamed the dying lightbulbs. "Who?" "Does it matter? In London, the 'who' is a rotating cast. The 'why' is always the same. You possess a certain... aptitude for finding things that do not wish to be found. And you involve yourself with people who find that skill threatening." "Is that why you're here? To tell me I’m in danger? Groundbreaking stuff, Luc. I’ll write it in my diary." "I am here because you haven't answered my messages." "I blocked your number." "I have more than one number." "I blocked those, too." He sighed, a sound of genuine, weary frustration that made him look human for a split second. He reached out, his gloved hand hovering near my face before he caught himself. The ivory handle of his cane stayed firmly planted. "You are stubborn. It is your most endearing and most infuriating quality." "And you’re arrogant. It’s your only quality." I moved past him, heading for the kitchen alcove to find the first-aid kit. The flat felt smaller with him in it, the ceiling lower, the air thicker. I fumbled with the latch of the tin box, my bloody fingers slipping. Before I could curse, a cool, firm hand settled over mine. "Let me." "I can do it." "You are shaking, Aurora." "I'm angry." "You are both." He gently pried the tin from my grip. He set his cane against the counter and took my hand. His touch was cold—demons didn't carry much internal heat—but it was steady. He dipped the silk handkerchief into the sink, wetted it, and began to dab at my knuckles. We stood in the narrow space between the fridge and the stove. I could see the fine weave of his charcoal suit, the way his platinum hair was slicked back without a single strand out of place. He worked with the clinical efficiency of a surgeon, but there was a lingering pressure in his fingertips that wasn't clinical at all. "Why didn't you leave when I told you to?" I whispered. My voice betrayed me, cracking just enough to show the hollow space his absence had left. "Because you told me to leave," he replied, not looking up. "And I have never been good at following instructions from people I intend to keep." "Keep? I'm not a souvenir from one of your trips to the rift, Lucien." "No. You are far more troublesome." He finished cleaning the cuts and reached for the antiseptic. "Hold still. This will sting." "I've had worse." "I know. I saw the marks Evan left." His black eye flared, the pupil swallowing the iris entirely for a heartbeat. It was the only sign of the violence simmering beneath the tailored exterior. He hated that I had a history he hadn't cleared away, a past that didn't involve his intervention. "Don't," I said. "Don't play the protector. You’re a fixer. You fix problems for money or leverage. Which one am I tonight?" "Tonight, you are a headache." He wrapped the gauze around my hand, his movements slowing. He didn't let go when he was finished. He kept my hand held between his, staring at the small crescent scar on my wrist. "And a reminder that I am remarkably bad at being indifferent." "You were doing a great job for six months." "I was in Marseille. Dealing with my father’s estate. It took... longer than anticipated to extract myself from the politics of Avaros." "And you couldn't send a letter? A raven? A cryptic smoke signal?" "I didn't want the filth of that realm following the trail back to your door." He finally looked up, his amber eye burning with a sudden, sharp intensity. "I am here now. And the wards are failing, Aurora. You need to gather your things." "I'm not going anywhere with you." "The men downstairs are not van drivers looking for a tip. They are looking for the girl who stole the ledger from the Black Friar." I froze. My heart hammered against my ribs like a trapped bird. "How did you know about the ledger?" "I am the person people call when they lose things, Rory. And I am the person they fear when I find them first." A heavy thud sounded from the front door. Not a knock. A shoulder. The three deadbolts held, but the frame groaned. Ptolemy bolted under the sofa, a blur of orange fur. "They're early," Lucien muttered, reaching for his cane. He didn't look worried. He looked annoyed, like someone had interrupted a fine meal. He twisted the ivory handle, and four inches of thin, gleaming steel slid out with a melodic *shing*. "Lucien—" "Get your coat, Aurora. And the ledger. I assume it’s hidden in the flour jar?" "Cereal box," I corrected, my brain finally snapping into gear. "The gluten-free stuff. No one ever touches it." "Clever girl." Another thud hit the door, followed by the splintering crack of wood. "Quickly. I would prefer not to get blood on this suit; it’s hand-stitched." I dove for the kitchen cupboard, grabbing the box of cardboard-tasting muesli and shoving the heavy, leather-bound book into my satchel. Behind me, the front door exploded inward in a spray of splinters and ancient brass. "Stay behind me," Lucien commanded, his voice dropping an octave into something that wasn't entirely human. Two men in heavy leather coats pushed through the wreckage, their eyes glowing with a sickly, jaundiced light. They weren't human, or at least, they weren't anymore. They moved with the jerky, unnatural twitching of husks. "Moreau," one of them rasped, his voice sounding like grinding stones. "The master wants the book. And the girl." "The master has poor taste in henchmen," Lucien said, stepping over a pile of Eva's books. He flicked the blade in his hand, a drop of his own blood hitting the steel. The metal began to glow with a faint, violet light. "And even poorer timing." The first husk lunged, its fingers lengthening into jagged claws. Lucien didn't flinch. He parried the strike with the shaft of his cane and drove the concealed blade upward with a sickening squelch. "Rory," he called out over the sound of the scuffle, "if you’re going to jump out the window, now would be the time." "The window? We're three floors up!" "Then I suggest you hold on to me very tightly." The second husk snarled, its jaw unhinging to reveal rows of needle-teeth. Lucien kicked the first body away and turned to me, his heterochromatic eyes locking onto mine with a terrifying, magnetic pull. He held out his free hand, the leather glove stained with black ichor. "Trust me?" "I'd rather trust a rattlesnake." "Excellent choice." He grabbed my waist, pulling me flush against him. The scent of sandalwood and blood overwhelmed me as he swung his cane in a wide, shimmering arc, shattering the glass of the bay window behind us. "Close your eyes." The cold night air rushed in, and for a terrifying second, we were suspended in the void above Brick Lane, the world tilting into a chaotic smear of neon signs and shadows. Then, we weren't falling; we were drifting, the laws of gravity bowing to the dark lineage in his veins. We hit the roof of a parked car twenty feet below with a bone-jarring thud. The alarm began to wail, a shrill, piercing scream that tore through the quiet of the street. Lucien didn't miss a beat, sliding off the dented metal and pulling me with him. "My car is around the corner," he said, his breathing barely elevated. He tucked the blade back into his cane with a sharp click. "You're insane," I gasped, clutching my satchel to my chest. "You just jumped out a window!" "I believe the term is 'tactical egress'." He paused, his hand gripping my elbow as he scanned the shadows of a nearby alleyway. Three more shapes moved in the darkness, their eyes catching the light. "And it appears we aren't finished yet." He pulled me toward a sleek, black Bentley idling at the curb, its engine purring like a large, dangerous cat. "Get in. Unless you’d prefer to explain the ledger to the gentlemen with the teeth." I didn't argue. I dived into the leather-scented sanctuary of the passenger seat. Lucien slid behind the wheel, the car roaring to life before his door was even shut. We tore away from the curb, tires screeching against the asphalt. "Where are we going?" I asked, my heart finally slowing enough for me to feel the ache in my ribs. "To my house. It has better locks. And a significantly better wine cellar." He glanced at me, a wolfish smirk playing on his lips. "Also, you still haven't told me what’s in that ledger that’s worth dying for." "I haven't decided if I'm telling you anything yet." "Fair enough." He swerved around a bus, the car leaning hard into the turn. "But I’d buckle up if I were you. We're being followed." I looked in the side mirror. A pair of headlights was gaining on us, weaving through traffic with a speed that no London taxi could achieve. "Is it them?" "Worse," Lucien said, his grip tightening on the steering wheel. "It’s the police. And in this borough, the police work for my father."
created_at"2026-02-19T03:57:11.169Z" 2/19/2026, 3:57:11 AM
model"google/gemini-3-flash-preview-20251217"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency800
moderation_latency(null)
generation_time26079
tokens_prompt4556
tokens_completion3466
native_tokens_prompt4440
native_tokens_completion3198
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4064
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"
usage0.0099852
router(null)
provider_responses
0
endpoint_id"6e82f652-2693-4b60-bbe0-7362d6e345f0"
is_byokfalse
latency800
model_permaslug"google/gemini-3-flash-preview-20251217"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771473431-rtzGR4MaszgV8RFsB7f0"
upstream_id(null)
total_cost0.0099852
cache_discount0.0018288
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
totalTags27
adverbTagCount1
adverbTags
0"He swerved around [around]"
dialogueSentences90
tagDensity0.3
leniency0.6
rawRatio0.037
effectiveRatio0.022
87.28% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2358
totalAiIsmAdverbs6
found
0
adverb"truly"
count1
1
adverb"slightly"
count1
2
adverb"gently"
count1
3
adverb"quickly"
count1
4
adverb"very"
count1
5
adverb"tightly"
count1
highlights
0"truly"
1"slightly"
2"gently"
3"quickly"
4"very"
5"tightly"
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)
59.71% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2358
totalAiIsms19
found
0
word"echoed"
count1
1
word"weight"
count1
2
word"predator"
count1
3
word"silk"
count2
4
word"pulse"
count1
5
word"could feel"
count1
6
word"footsteps"
count1
7
word"firmly"
count1
8
word"simmering"
count1
9
word"reminder"
count1
10
word"intensity"
count1
11
word"gleaming"
count1
12
word"flicked"
count1
13
word"magnetic"
count1
14
word"chaotic"
count1
15
word"scanned"
count1
16
word"sanctuary"
count1
17
word"roaring"
count1
highlights
0"echoed"
1"weight"
2"predator"
3"silk"
4"pulse"
5"could feel"
6"footsteps"
7"firmly"
8"simmering"
9"reminder"
10"intensity"
11"gleaming"
12"flicked"
13"magnetic"
14"chaotic"
15"scanned"
16"sanctuary"
17"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
narrationSentences113
matches(empty)
92.29% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences113
filterMatches
0"look"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences175
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords2341
ratio0
matches
0"shing"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions23
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount1453
uniqueNames11
maxNameDensity0.83
worstName"Lucien"
maxWindowNameDensity2
worstWindowName"Lucien"
discoveredNames
Brick2
Lane2
Eva4
Moreau1
House1
Avaros1
Lucien12
Two1
Three1
Bentley1
London1
persons
0"Eva"
1"Moreau"
2"Lucien"
3"Bentley"
places
0"Brick"
1"Lane"
2"House"
3"Avaros"
4"Three"
5"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences99
glossingSentenceCount1
matches
0"felt like standing too close to a high-"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2341
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences175
matches
0"hated that I"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs92
mean25.45
std18.58
cv0.73
sampleLengths
073
160
26
336
48
546
66
726
874
932
1025
117
1256
1331
1417
1519
1631
1768
185
1913
2035
2118
2275
2328
241
2543
2620
279
284
296
304
3140
3212
337
3452
352
364
374
382
3951
4060
4127
4226
4314
4421
453
468
4744
4822
4950
99.05% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences113
matches
0"was slicked"
1"were suspended"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs233
matches
0"were drifting"
1"was gaining"
12.24% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount4
flaggedSentences8
totalSentences175
ratio0.046
matches
0"He looked exactly as he had six months ago—impeccable, infuriating, and entirely out of place in a hallway that smelled of turmeric and damp carpet."
1"Ptolemy, Eva’s fat tabby, didn't even hiss; he simply watched from a stack of 17th-century grimoires, his yellow eyes tracking the half-demon with wary respect."
2"Lucien's heterochromatic eyes—one amber, one a void of pure black—swept over the chaos of the flat."
3"The silver ring on his finger caught the light—a seal of the House of Avaros."
4"He didn't move like a human; there was a fluid, oily precision to his gait that bypassed the clutter of the room."
5"His touch was cold—demons didn't carry much internal heat—but it was steady."
6"\"Quickly. I would prefer not to get blood on this suit; it’s hand-stitched.\""
7"Then, we weren't falling; we were drifting, the laws of gravity bowing to the dark lineage in his veins."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1468
adjectiveStacks0
stackExamples(empty)
adverbCount36
adverbRatio0.02452316076294278
lyAdverbCount17
lyAdverbRatio0.011580381471389645
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences175
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences175
mean13.38
std7.44
cv0.556
sampleLengths
019
131
223
311
425
524
66
73
826
97
108
1121
1225
136
1426
1518
1625
1716
1815
1918
2014
2125
227
2322
249
2525
2616
2715
2817
2919
307
3113
3211
3319
344
353
3618
3716
388
395
4013
4135
4218
4327
4422
457
4619
4711
4817
491
38.29% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.30857142857142855
totalSentences175
uniqueOpeners54
30.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences108
matches
0"Then, we weren't falling; we"
ratio0.009
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount68
totalSentences108
matches
0"I pulled the door open,"
1"He looked exactly as he"
2"His charcoal suit didn't have"
3"I looked down."
4"He stepped forward, not waiting"
5"He bypassed me, moving into"
6"He took in the overflowing"
7"he remarked, his voice a"
8"I slammed the door shut,"
9"I leaned my back against"
10"He didn't say it with"
11"He said it as a"
12"He reached into the inner"
13"He didn't offer it."
14"He simply waited."
15"I stayed by the door,"
16"You could feel the hum"
17"He didn't move like a"
18"He stopped just out of"
19"I felt a cold prickle"
ratio0.63
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount100
totalSentences108
matches
0"The third deadbolt groaned, a"
1"I pulled the door open,"
2"A scent of expensive sandalwood"
3"Lucien Moreau stood in the"
4"He looked exactly as he"
5"His charcoal suit didn't have"
6"I looked down."
7"A steady drip of crimson"
8"Adrenaline had masked the sting"
9"He stepped forward, not waiting"
10"The tap-thud of his cane"
11"He bypassed me, moving into"
12"Ptolemy, Eva’s fat tabby, didn't"
13"Lucien's heterochromatic eyes—one amber, one"
14"He took in the overflowing"
15"he remarked, his voice a"
16"I slammed the door shut,"
17"I leaned my back against"
18"Lucien turned, the tip of"
19"The silver ring on his"
ratio0.926
46.30% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences108
matches
0"Before I could curse, a"
ratio0.009
98.90% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount4
matches
0"The third deadbolt groaned, a reluctant, metallic shriek that echoed through the narrow hallway of the Brick Lane flat."
1"He looked exactly as he had six months ago—impeccable, infuriating, and entirely out of place in a hallway that smelled of turmeric and damp carpet."
2"He worked with the clinical efficiency of a surgeon, but there was a lingering pressure in his fingertips that wasn't clinical at all."
3"He pulled me toward a sleek, black Bentley idling at the curb, its engine purring like a large, dangerous cat."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount9
matches
0"He stepped, not waiting for an invitation"
1"he remarked, his voice a smooth, low cello note"
2"he replied, not looking up"
3"He wrapped, his movements slowing"
4"I corrected, my brain finally snapping into gear"
5"them rasped, his voice sounding like grinding stones"
6"he said, his breathing barely elevated"
7"He glanced, a wolfish smirk playing on his lips"
8"Lucien said, his grip tightening on the steering wheel"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount4
fancyTags
0"I whispered (whisper)"
1"Lucien muttered (mutter)"
2"I corrected (correct)"
3"I gasped (gasp)"
dialogueSentences90
tagDensity0.122
leniency0.244
rawRatio0.364
effectiveRatio0.089
78.8307%