Run: 2026-02-19-01KHT0QFEYST1CYHAT052MS0DB

Run Details

Duration:
1m 14s
Cost:
$0.013826
Provider:
AtlasCloud

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
Three deadbolts. Eva had installed them herself, power drill screaming at two in the morning after her third paranormal stalker in as many months. Each one clicked open in sequence, and I pressed my shoulder against the door. Ptolemy shot past my ankles before I could stop him, his tabby fur brushing against my jeans as he made a break for freedom. The landing was empty, fluorescent light buzzing overhead. So why did the back of my neck prickle? The staircase at the end of the corridor caught my attention. A shadow shifted at the bottom, too deliberate to be a trick of the light. Someone had been waiting. "Your cat has no survival instincts." The voice drifted up the stairwell. Accented. Cultured. Familiar in a way that made my stomach clench. Ptolemy had frozen mid-step, tail puffed to twice its size. He arched his back at the figure emerging from the shadows, then bolted back through my legs and into the flat. I didn't follow him. I kept my grip on the door frame. Lucien Moreau climbed the stairs with measured grace, one hand resting on the ivory handle of his cane. The charcoal suit looked freshly pressed, not a wrinkle in sight despite the late hour. His platinum blond hair caught the harsh fluorescent glow as he approached, slicked back as always, not a strand out of place. But his eyes, one amber and one black, held an edge that his smooth posture tried to mask. "Rory." "Don't call me that." "You prefer Aurora? Or should I use the name your friends employ?" He stopped three steps below the landing. Close enough to speak without raising his voice. Far enough to maintain the illusion of politeness. "Rory suits you better. Less... theatrical." "You're blocking my door." "I am." We stared at each other. The fluorescent light flickered, casting his face in alternating warmth and shadow. The black eye seemed to swallow the darkness. The amber one caught it. "Three months." I crossed my arms. "Three months of nothing, and you show up at my flat at—" I glanced at my phone. "Half past midnight. What do you want, Lucien?" "To talk." "We talked. In Paris. You said everything you needed to say." A muscle twitched in his jaw. "I said what I thought I needed to say. There's a difference." "I'm not interested in semantic games." "Everything with you is semantic games. You're a barrister's daughter who ran from the law because she couldn't stomach the lies. You understand the weight of words better than anyone." I hated that he remembered. Hated that he'd catalogued the details of my life like evidence in a case file. Most of all, I hated that some small, treacherous part of me was glad to see him standing there, filling the dingy corridor with his expensive cologne and dangerous stillness. "I'm not letting you in." "I didn't ask." "Then we're done here." I stepped back, reaching for the door. His hand caught the edge before I could close it. Not forceful. Just present. An immovable object meeting a force that had run out of momentum. "Someone's looking for you." My hand stopped on the door. "I'm already found. You found me." "Not me." His voice dropped, losing its polished veneer. "Evan's people. They've been asking questions in Cardiff. Your father's chambers. Your mother's school." The temperature in the corridor seemed to drop. Evan. The name sat in the air between us, rotten and heavy. I'd left that life behind. Changed my number. Moved to a city where the supernatural population meant no one looked twice at a woman trying to disappear. "How do you know?" "Because I make it my business to know. Because the moment you walked into my life, every shadow in London became my concern." His jaw tightened. "Because I never stopped watching, even when you told me to leave." "Stalking. We call that stalking in Welsh." "Preparation. We call that preparation in French." Ptolemy yowled from somewhere inside the flat. I should close the door. I should tell Lucien to go to hell, or back to Marseille, or anywhere that wasn't my doorstep with news about the man I'd fled halfway across a country to escape. Instead, I opened the door wider. "Five minutes." "Generous of you." The flat was cramped, every surface buried under Eva's research materials. Books on demonology. Scrolls in languages I couldn't identify. A half-eaten samosa on a plate that had been there long enough to fossilise. I cleared a stack of papers from the armchair, acutely aware of the chaos surrounding us. Lucien surveyed the space without comment. His gaze lingered on the warding symbols painted above the windows, the iron horseshoe nailed above the bathroom door, the jar of salt that sat on the kitchen counter like a seasoning rather than a protective measure. "You've been busy." "Eva's paranoid." "Eva's practical. There's a distinction." He didn't sit. Instead, he moved to the window, adjusting the curtain with two fingers. Outside, Brick Lane's neon signs bled colour into the night. A group of tourists stumbled past, their laughter muffled by the glass. "You could have called." "You would have ignored it." "You don't know that." "I know you, Rory. Better than you'd like." He turned from the window. "I've had your number blocked for three months. The only reason I know you haven't changed it is because I pay someone to check." "That's not romantic. That's concerning." "I never claimed to be romantic." No. He hadn't. That was part of the problem. Lucien Moreau dealt in facts, in arrangements, in transactions that left both parties satisfied but never whole. He'd made that clear in Paris, when he'd told me that whatever existed between us was a complication he couldn't afford. And now he stood in my living room, bringing complications of his own. "Why are you here, Lucien? Really." "Evan Harcourt has hired a tracker. Half-troll, by the smell of him. Very good at finding people who don't want to be found. He arrived in London two days ago." My chest constricted. "You're sure?" "I spoke to him myself. A messy conversation. He was reluctant to share details, but he mentioned a woman matching your description. Dark hair. Blue eyes. A scar on her left wrist." I rubbed the crescent mark without thinking. The wound was fifteen years old, earned when I'd fallen from the climbing frame at the park. Mam had been furious, convinced I needed stitches. Da had just laughed and said scars built character. They didn't know about Evan. Didn't know why I'd really left Cardiff. By the time I was ready to tell them, I was already in London, already working for Yu-Fei, already building a life out of nothing. "Does he know where I am?" "Not yet. The tracker is methodical. He's working his way through delivery services first. Yu-Fei's establishment is on his list, but not at the top." "How long?" "A week. Maybe less." I sank onto the sofa, scattering a pile of newspapers. The headlines blurred in front of me. *Mysterious Deaths in Camden.* *Police Baffled by Canal Discoveries.* Eva had been collecting them for her research, tracking patterns that the authorities couldn't see. I'd thought Evan was done with me. Thought the distance, the silence, the new identity would be enough. But men like Evan didn't let go. They collected. Possessed. Destroyed when they couldn't keep. "I can't go back." "I'm not asking you to." "Then what are you asking?" Lucien crossed the room in three strides. He knelt in front of me, his cane balanced against the coffee table, his mismatched eyes level with mine. This close, I could see the faint lines at the corners of his mouth, the tension he carried in his shoulders. "I'm offering you a choice. Stay here, hope the wards hold, and pray the tracker is less competent than I believe. Or let me handle this." "Handle it how?" "Does it matter?" "It matters to me." A pause. His hand moved to his cane, thumb tracing the ivory handle. "There are places in London where people disappear. Where trackers go when they ask the wrong questions about the wrong woman. I have connections in those places." "You'd kill for me." "I'd do worse than kill." The amber eye darkened. The black one remained unchanged, an abyss that promised nothing and everything. "I'd undo myself. For you." The words hung between us, weighted with implication. This was the Lucien I'd tried to forget. The one who spoke in absolutes, who offered devotion without gentleness, protection without softness. The one who had looked at me in Paris and told me he couldn't be what I needed. But he could be what I required. "There's a price." "There's always a price." He rose, straightening his suit jacket. "In this case, the price is your trust. For one week. Let me keep you safe. Let me handle Evan's hired help. And when it's over, if you want me gone, I'll walk away. No arguments. No contact. You'll never hear from me again." "One week." "One week." I should have said no. Should have closed the door in his face the moment I'd seen him standing in the shadows. But Evan was coming. Evan, who had turned love into a prison, who had taught me that the person you trusted most could become the thing you feared. Evan, who wouldn't stop until he'd dragged me back to Cardiff and reminded me why I'd run in the first place. "Fine." Lucien's expression didn't change, but something in his posture relaxed. "Pack a bag. You're not staying here tonight." "Where am I staying?" "My hotel. Separate rooms. You have my word." "Your word." I laughed, the sound brittle. "That means something, does it?" "It means everything." He picked up his cane, fingers wrapping around the ivory handle. "I'm a half-breed demon, Rory. My kind don't give our word lightly. When we do, it's binding. In blood, if necessary." "Let's hope it doesn't come to that." "It won't." He moved to the door, pausing with his hand on the frame. "I'll wait in the corridor. Take what you need. We leave in five minutes." I watched him go, the door closing softly behind him. Ptolemy emerged from beneath the sofa, meowing as he wound between my ankles. "Stop judging me," I muttered, reaching for the duffel bag I kept under the bed. "I don't have a choice." The cat blinked at me, unimpressed. I grabbed clothes, phone charger, the emergency cash Eva had insisted I keep hidden in a hollowed-out book. My hands moved on autopilot while my mind raced ahead, calculating scenarios, mapping exits, planning contingencies. Three deadbolts hadn't been enough. Three months of silence hadn't been enough. And now Lucien Moreau was back, offering safety with one hand and something far more dangerous with the other. The duffel bag hit my shoulder as I opened the door. Lucien stood exactly where he'd promised, shadow swallowed by shadow, his face a study in controlled patience. "Ready?" "Question." I locked each deadbolt in turn. "What happens after the week is over? When you've dealt with the tracker, when Evan has no way to find me, what then?" "Then you decide." He started down the stairs, his cane tapping a rhythm against the concrete. "I told you in Paris that I couldn't give you what you deserved. I haven't changed my mind." "But you're here anyway." "I'm here anyway." The neon lights of Brick Lane spilled across the pavement as we stepped outside. The night air carried the scent of curry and exhaust, the sounds of a city that never truly slept. Somewhere in the darkness, a half-troll tracker was hunting. Somewhere in Cardiff, an ex-boyfriend was waiting. And somewhere between then and now, I'd made a bargain with a half-demon who offered everything but promised nothing. Lucien's hand brushed the small of my back as he guided me toward a black car waiting at the kerb. The touch was brief, professional, and utterly devastating. One week. I could survive anything for one week. The question was whether I'd survive what came after.
created_at"2026-02-19T03:57:32.529Z" 2/19/2026, 3:57:32 AM
model"z-ai/glm-5-20260211"
app_id182717
external_user(null)
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cancelledfalse
latency4031
moderation_latency(null)
generation_time73759
tokens_prompt4556
tokens_completion3662
native_tokens_prompt4139
native_tokens_completion3141
native_tokens_completion_images(null)
native_tokens_reasoning532
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"
usage0.0138262
router(null)
provider_responses
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endpoint_id"37e677ea-62aa-4245-ae11-b59bd802f183"
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is_byokfalse
latency4031
model_permaslug"z-ai/glm-5-20260211"
provider_name"AtlasCloud"
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api_type"completions"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences83
tagDensity0.169
leniency0.337
rawRatio0
effectiveRatio0
82.89% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2046
totalAiIsmAdverbs7
found
0
adverb"really"
count2
1
adverb"very"
count1
2
adverb"lightly"
count1
3
adverb"softly"
count1
4
adverb"truly"
count1
5
adverb"utterly"
count1
highlights
0"really"
1"very"
2"lightly"
3"softly"
4"truly"
5"utterly"
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)
60.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2046
totalAiIsms16
found
0
word"familiar"
count1
1
word"stomach"
count2
2
word"measured"
count1
3
word"flickered"
count1
4
word"warmth"
count1
5
word"weight"
count1
6
word"treacherous"
count1
7
word"methodical"
count1
8
word"silence"
count2
9
word"tension"
count1
10
word"tracing"
count1
11
word"implication"
count1
12
word"raced"
count1
13
word"calculating"
count1
highlights
0"familiar"
1"stomach"
2"measured"
3"flickered"
4"warmth"
5"weight"
6"treacherous"
7"methodical"
8"silence"
9"tension"
10"tracing"
11"implication"
12"raced"
13"calculating"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"weight of words/silence"
count1
highlights
0"the weight of words"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences132
matches(empty)
88.74% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences132
filterMatches(empty)
hedgeMatches
0"tried to"
1"seemed to"
2"try to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences201
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords9
totalWords2037
ratio0.004
matches
0"Mysterious Deaths in Camden."
1"Police Baffled by Canal Discoveries."
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
totalMentions47
wordCount1368
uniqueNames17
maxNameDensity0.73
worstName"Lucien"
maxWindowNameDensity2
worstWindowName"Evan"
discoveredNames
Moreau3
Close1
Ptolemy4
Lucien10
Marseille1
Eva4
Brick2
Lane2
Paris2
Evan7
Cardiff3
London1
Yu-Fei1
Deaths1
Baffled1
Canal1
Three3
persons
0"Moreau"
1"Ptolemy"
2"Lucien"
3"Eva"
4"Evan"
5"Yu-Fei"
places
0"Close"
1"Marseille"
2"Brick"
3"Lane"
4"Paris"
5"Cardiff"
6"London"
7"Three"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences98
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2037
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences201
matches
0"hated that he"
1"Hated that he'd"
2"hated that some"
3"left that life"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs107
mean19.04
std16.85
cv0.885
sampleLengths
038
132
29
330
46
517
631
712
855
918
101
114
1241
134
142
1530
1631
172
1811
1918
206
2130
2250
235
243
254
2633
274
2812
2923
3047
314
3238
337
347
3543
366
372
383
3950
4043
413
422
435
4437
454
465
474
4837
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences132
matches
0"was cramped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs248
matches
0"was coming"
1"was hunting"
2"was waiting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences201
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1374
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.024017467248908297
lyAdverbCount7
lyAdverbRatio0.005094614264919942
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences201
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences201
mean10.13
std7.82
cv0.772
sampleLengths
02
122
214
324
48
59
611
715
84
96
106
111
121
139
1410
1521
164
178
1818
1915
2022
2118
221
234
2419
258
268
276
284
292
305
3112
328
335
346
3517
368
372
3811
396
4012
416
4230
435
4415
4530
465
473
484
497
52.07% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.3781094527363184
totalSentences201
uniqueOpeners76
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences120
matches
0"Instead, I opened the door"
1"Instead, he moved to the"
2"Somewhere in the darkness, a"
3"Somewhere in Cardiff, an ex-boyfriend"
ratio0.033
83.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences120
matches
0"He arched his back at"
1"I didn't follow him."
2"I kept my grip on"
3"His platinum blond hair caught"
4"He stopped three steps below"
5"We stared at each other."
6"I crossed my arms"
7"I glanced at my phone"
8"I hated that he remembered."
9"I stepped back, reaching for"
10"His hand caught the edge"
11"My hand stopped on the"
12"His voice dropped, losing its"
13"I'd left that life behind."
14"His jaw tightened"
15"I should close the door."
16"I should tell Lucien to"
17"I cleared a stack of"
18"His gaze lingered on the"
19"He didn't sit."
ratio0.342
80.83% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences120
matches
0"Eva had installed them herself,"
1"Each one clicked open in"
2"Ptolemy shot past my ankles"
3"The landing was empty, fluorescent"
4"The staircase at the end"
5"A shadow shifted at the"
6"Someone had been waiting."
7"The voice drifted up the"
8"Ptolemy had frozen mid-step, tail"
9"He arched his back at"
10"I didn't follow him."
11"I kept my grip on"
12"Lucien Moreau climbed the stairs"
13"The charcoal suit looked freshly"
14"His platinum blond hair caught"
15"He stopped three steps below"
16"We stared at each other."
17"The fluorescent light flickered, casting"
18"The black eye seemed to"
19"The amber one caught it."
ratio0.758
41.67% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences120
matches
0"By the time I was"
ratio0.008
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount4
matches
0"A half-eaten samosa on a plate that had been there long enough to fossilise."
1"His gaze lingered on the warding symbols painted above the windows, the iron horseshoe nailed above the bathroom door, the jar of salt that sat on the kitchen c…"
2"*Mysterious Deaths in Camden.* *Police Baffled by Canal Discoveries.* Eva had been collecting them for her research, tracking patterns that the authorities coul…"
3"And somewhere between then and now, I'd made a bargain with a half-demon who offered everything but promised nothing."
89.29% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount1
matches
0"He started, his cane tapping a rhythm against the concrete"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount2
fancyTags
0"I laughed (laugh)"
1"I muttered (mutter)"
dialogueSentences83
tagDensity0.024
leniency0.048
rawRatio1
effectiveRatio0.048
92.3855%