Run: 2026-02-19-01KHTQX0XPDRDN0QXZYR5QQDQZ

Run Details

Duration:
2m 42s
Cost:
$0.004228
Provider:
Novita

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <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> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The stone felt cold through Aurora's jeans. Not the crisp cold of winter granite, but a damp, mossy chill that seeped in slow. She shifted on the lichen-covered surface, the slight scrape of denim against damp stone wrong somehow. Too loud. She'd been sitting here, cross-legged, for maybe twenty minutes. Maybe an hour. The Fae Grove had that particular talent. Time went soft around the edges here, blurred like watercolour on wet paper. She'd come because the dreams were getting worse. Not nightmares, not exactly. More like… memories. Except they weren't hers. Flashes of a life lived in perpetual twilight, under a sky the colour of a bruise. The faint, coppery taste of ley line energy on the back of her tongue upon waking. Eva said it was stress, the move from Cardiff to London, the breakup with Evan leaving fractures. But Eva hadn't seen the pale, slender figure watching from the tree line behind Aurora's flat three nights ago. A shape that dissolved into mist just before she could be sure. So, she'd come to Isolde's grove. The place where the veil was thin. If something from the other side was bleeding through, she reasoned, the boundary would be where she'd see it clearest. She was regretting the logic. The grove was quiet. Not peaceful quiet. The heavy, listening quiet of a room where someone holds their breath. Even the air felt thick, resistant to movement. Moonlight filtered through the ancient oaks that created a ring of standing stones around the clearing, dappling the year-round wildflowers in silver and shadow. It was beautiful. Unnaturally so. Like a stage set. Her left hand went to the pendant resting against her sternum. The Heartstone. A thumb-sized piece of crimson crystal set in silver, given to her by a man she’d only met once, in a rain-drenched back alley near Silas’ bar. He’d pressed it into her palm, his skin cold as marble. “Keep this close. It will know before you do.” It was warm now. Not uncomfortably so, but a pulse of gentle heat against her skin, slow and steady, like a sleeping heartbeat. She’d first felt it warm near the old, abandoned tube station entrance on Greek Street three weeks ago. It had confirmed something she’d suspected for a while: Hel portals weren’t just stories. They were here, in London, leaking bad air. The bluebells to her left rustled. No wind. The air was perfectly still. The sound was dry, a papery shuffle. Aurora froze, her fingers tightening around the stone. She didn’t turn her head. Her gaze stayed fixed on the centre of the clearing where a cluster of foxgloves nodded in the non-existent breeze. Peripheral vision was a liar in places like this. But ears? Ears were blunt instruments of truth. The rustling stopped. A heartbeat passed. Two. Then, from the opposite side of the clearing, a soft crack. Like a twig snapping underfoot. Impossible. She was the only one here. She’d been sure of it. She’d followed the path from Richmond Park at dusk, slipping through the gap between two specific oaks that shouldn’t have been adjacent. The entrance was tricky, known to very few. Isolde herself had shown her, once, in exchange for a promise Aurora was still learning the shape of. Another crack, closer this time. She slipped off the stone, her trainers sinking into the soft, spongy moss with a soundless squish. She stood, her breath a faint ghost in the cold air. “Hello?” Her voice was too small, swallowed by the oppressive quiet. No answer. The pendant grew hotter. A sharp, insistent thrum against her chest. From the thicket of ferns directly ahead, a low, wet gurgle. Not animal. Not human. It was the sound of mud bubbling up through a grate. Slow, viscous, deliberate. Aurora took a step back. Her heel encountered the base of the standing stone she’d been sitting on. Trapped. The gurgling subsided. In its place came a series of clicks. Rhythmic, precise, like telegraph code tapped out on hollow bone. She could see the ferns trembling now. Not a shaking. A careful, deliberate parting, as if something broad and low was pushing through, stem by stem. The Heartstone burned. A warning. She fumbled with the silver chain, her fingers clumsy with a cold that had nothing to do with temperature. She unhooked the clasp, letting the stone drop into her cupped palm. The deep crimson gem pulsed with its own faint inner light, casting a bloody glow across her fingers. The clicking stopped. Silence slammed back into the clearing, heavier than before. The air grew colder, frosting her exhales into plumes. Then she heard it. The breathing. It came from everywhere and nowhere. A rasping, wet draw of air, followed by a long, shuddering exhale that sounded like dead leaves skittering across stone. It wasn’t in front of her anymore. It was to her left. Right. Behind. She turned on the spot, the stone held out before her like a wretched little lantern. Its light only reached a few feet, deepening the shadows beyond into impenetrable black. A shape moved at the treeline. Not in the trees. Between them. A distortion in the darkness, taller than a man, impossibly lean. It didn’t walk. It seemed to flow, a ripple of deeper night against the black. It had no features, no details, just a sense of terrible, elongated wrongness. “Isolde?” Aurora whispered, her throat tight. The name was a desperate shot in the dark. The Fae woman who tended this grove was capricious, dangerous, but she was a known quantity. This… this wasn’t her. The shape paused, as if considering the word. Then it took a step forward. The ground didn’t crunch. It sighed. A soft, pained exhalation of earth and root. The temperature plummeted. Aurora’s breath hitched, her lungs aching with the sudden cold. The Heartstone flared in her hand, so hot it was almost painful to hold, its crimson light blazing against the advancing dark. The thing was close enough now that she could see it didn’t have a face. It had a *smear*. A suggestion of features blurred and run together, like a reflection in a disturbed pond. She could make out the suggestion of eyes, dark hollows that drank the pendant’s light and gave nothing back. A slash where a mouth might be, hanging open slightly. The wet, rasping breath was coming from that slash. It raised a limb. Not an arm. Something too long, too jointed, ending in a cluster of twig-like fingers that clicked softly against each other. It pointed at her. No. At the stone in her hand. A sound emerged from it. Not a voice. A vibration that tunnelled up from the ground through the soles of her trainers and into her bones. A single, guttural syllable that carried the taste of stagnant water and damp rot. “***Mine.***” The word wasn’t heard. It was felt. It vibrated in her teeth, in the small crescent-shaped scar on her left wrist, a phantom ache from a childhood long past. Every instinct screamed at her to run. But her legs were leaden, frozen by more than cold. The logic centre of her brain, the Cardiff University Pre-Law part that demanded evidence and precedent, fractured. This was the evidence. This was the precedent. The wrongness she’d felt since arriving wasn’t just atmosphere. It was a presence. A thing that had been waiting. Watching. Hungry. The creature took another step. The space between them halved. She could smell it now—a sweet, cloying decay, like forgotten flowers fermenting in a cellar. The Heartstone pulsed once, a frantic, rapid beat. Then the light winked out. Darkness rushed in, absolute and drowning. The rasping breath was right in front of her. The sweet-rot smell filled her nostrils, her mouth. Something cold and dry brushed the back of her hand. A twig-finger. Tracing the line of her knuckles. Aurora jerked her hand back, a raw sound escaping her lips. She stumbled backwards, blind, her shoulder slamming into the rough bark of an oak. The impact jarred her, pain sparking bright and clean through the numbness. Panic, hot and electric, finally unlocked her legs. She shoved away from the tree and ran. Not toward the path. That was a memory. The grove, the boundary, the rules of thin spaces—they were gone, rewritten by the dark. She ran on instinct, through the flower beds that tore at her ankles, through the grasping ferns. She didn’t look back. Looking back was a death sentence in stories. She knew that much. The ground vanished beneath her. One moment she was sprinting across spongy moss, the next she was falling, tumbling down an unseen slope. She landed hard on her side, the breath knocked from her lungs in a painful gasp. She lay there, stunned, stars dancing in her vision. Silence. No rasping breath. No clicking. Just the frantic thud of her own heart against her ribs. She pushed herself up, wincing. She was in a shallow dip, a dry streambed lined with smooth, pale stones. Moonlight reached down here, a thin silver trickle. She was at the edge of the clearing, right up against the ring of standing stones. One of them loomed above her, a skeletal giant against the sky. She still clutched the Heartstone. It was cool again. Dormant. A soft, melodious chuckle echoed through the grove. It came from above. From the top of the standing stone. Aurora looked up. Perched on the ancient, moss-capped crown of the stone was a woman. She was draped in shadows and silvery moonlight, her long hair the colour of frost-kissed ivy. She wore a gown of woven leaves and twilight, and her eyes held the pale, merciless gleam of winter stars. Isolde. The Fae woman smiled, a thin, sharp curve of her lips. She looked down at Aurora, then past her, into the dark heart of the grove where the thing with the smeared face had been. “It seems,” Isolde said, her voice like wind chimes made of ice, “you’ve attracted a rather persistent admirer, little thief.” Aurora scrambled to her feet, her chest heaving. “Thief? I didn’t—” Isolde held up a slender hand. Her nail was a long, polished shard of obsidian. “You carry a heart that does not beat in your chest. You walk with a shadow you did not earn.” She tilted her head, her star-pale eyes narrowing. “They always come for what is theirs. You brought the beacon. You lit the flame.” A low, wet gurgle echoed from the darkness behind Aurora. It was closer than before. Isolde’s smile didn’t waver. “Run along now, Rory Carter. The Grove is closed for the evening.” She gestured, a lazy flick of her wrist. The world twisted. The standing stones blurred. The moonlight shattered. Aurora felt a sudden, violent lurch, as if the ground had been yanked out from under her. She landed on her knees on damp grass, the familiar smell of Richmond Park filling her nostrils—wet earth, distant traffic, the mundane scent of a city night. The oppressive silence of the Grove was gone, replaced by the distant hum of London. She was out. Back on the human side of the veil. She knelt there, shivering, the cold night air a shock after the Grove’s unnatural chill. The Heartstone pulsed once, weakly, against her palm, then went still. From the direction of the oak trees—the ones that now stood a perfectly normal distance apart—a final, shuddering breath whispered through the leaves. It carried a single, echoing word on the wind, so faint she might have imagined it. “***Soon.***” Aurora closed her fingers around the stone, its silver chain tangled between her knuckles. She looked down at her hand, at the faint red glow still emanating from between her clenched fingers. The beacon. The flame. She had come looking for answers. She’d found a hunting ground. And she was the bait.
created_at"2026-02-19T10:42:31.484Z" 2/19/2026, 10:42:31 AM
model"microsoft/wizardlm-2-8x22b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1377
moderation_latency(null)
generation_time162168
tokens_prompt4562
tokens_completion3079
native_tokens_prompt4147
native_tokens_completion2672
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4096
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"
usage0.00422778
router(null)
provider_responses
0
endpoint_id"92d0658f-b48a-4746-96e7-75ea71d5e060"
id"087d4fa8-320c-4d0b-8729-665d008e385f"
is_byokfalse
latency1377
model_permaslug"microsoft/wizardlm-2-8x22b"
provider_name"Novita"
status200
api_type"completions"
id"gen-1771497751-UXSdUWydw4IHJdglAHwc"
upstream_id"087d4fa8-320c-4d0b-8729-665d008e385f"
total_cost0.00422778
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences10
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
87.54% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2006
totalAiIsmAdverbs5
found
0
adverb"perfectly"
count2
1
adverb"very"
count1
2
adverb"slightly"
count1
3
adverb"softly"
count1
highlights
0"perfectly"
1"very"
2"slightly"
3"softly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
27.72% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2006
totalAiIsms29
found
0
word"chill"
count2
1
word"crystal"
count1
2
word"marble"
count1
3
word"pulse"
count1
4
word"oppressive"
count2
5
word"rhythmic"
count1
6
word"pulsed"
count3
7
word"silence"
count3
8
word"sense of"
count1
9
word"vibrated"
count1
10
word"fractured"
count1
11
word"tracing"
count1
12
word"electric"
count1
13
word"dancing"
count1
14
word"loomed"
count1
15
word"echoed"
count2
16
word"beacon"
count2
17
word"shattered"
count1
18
word"lurch"
count1
19
word"familiar"
count1
20
word"echoing"
count1
highlights
0"chill"
1"crystal"
2"marble"
3"pulse"
4"oppressive"
5"rhythmic"
6"pulsed"
7"silence"
8"sense of"
9"vibrated"
10"fractured"
11"tracing"
12"electric"
13"dancing"
14"loomed"
15"echoed"
16"beacon"
17"shattered"
18"lurch"
19"familiar"
20"echoing"
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
narrationSentences225
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences225
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences231
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1989
ratio0.002
matches
0"smear"
1"*Mine."
2"*Soon."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount1914
uniqueNames16
maxNameDensity0.73
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Aurora"
discoveredNames
Aurora14
Fae3
Grove3
Cardiff2
London3
Evan1
Eva2
Isolde6
Heartstone6
Greek1
Street1
Hel1
Richmond2
Park2
University1
Pre-Law1
persons
0"Aurora"
1"Evan"
2"Eva"
3"Isolde"
4"Heartstone"
places
0"Fae"
1"Grove"
2"Cardiff"
3"London"
4"Greek"
5"Street"
6"Richmond"
7"Park"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences131
glossingSentenceCount2
matches
0"sounded like dead leaves skittering across"
1"as if considering the word"
99.45% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.006
wordCount1989
matches
0"Not the crisp cold of winter granite, but a damp, mossy chill"
1"Not uncomfortably so, but a pulse of gentle heat against her skin, slow"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences231
matches
0"exhale that sounded"
1"knew that much"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs91
mean21.86
std19.76
cv0.904
sampleLengths
07
166
28
391
433
55
660
760
823
940
106
1114
1250
133
144
1516
1660
175
1828
1911
202
2111
2211
234
2414
2519
2621
2726
285
2949
303
3118
326
3340
3430
356
3645
3735
388
396
4014
4135
4263
439
4425
454
467
4740
481
4929
97.47% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences225
matches
0"was felt"
1"were gone"
2"was draped"
3"been yanked"
4"was gone"
43.40% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount7
totalVerbs298
matches
0"were getting"
1"was bleeding"
2"was regretting"
3"was pushing"
4"was coming"
5"was sprinting was falling"
93.38% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount0
flaggedSentences4
totalSentences231
ratio0.017
matches
0"She could smell it now—a sweet, cloying decay, like forgotten flowers fermenting in a cellar."
1"The grove, the boundary, the rules of thin spaces—they were gone, rewritten by the dark."
2"She landed on her knees on damp grass, the familiar smell of Richmond Park filling her nostrils—wet earth, distant traffic, the mundane scent of a city night."
3"From the direction of the oak trees—the ones that now stood a perfectly normal distance apart—a final, shuddering breath whispered through the leaves."
94.58% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount368
adjectiveStacks0
stackExamples(empty)
adverbCount17
adverbRatio0.04619565217391304
lyAdverbCount3
lyAdverbRatio0.008152173913043478
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences231
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences231
mean8.61
std6.17
cv0.716
sampleLengths
07
116
216
32
49
53
67
713
88
94
102
111
124
1316
1416
1517
1619
1712
186
197
2020
215
224
233
2412
258
2624
273
282
294
3011
312
3227
3311
349
354
3619
3718
3814
398
406
412
425
437
448
455
4620
479
482
496
38.31% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats27
diversityRatio0.2857142857142857
totalSentences231
uniqueOpeners66
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences195
matches
0"Maybe an hour."
1"Even the air felt thick,"
2"Then, from the opposite side"
3"Then she heard it."
4"Then it took a step"
5"Then the light winked out."
6"Just the frantic thud of"
ratio0.036
82.56% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount67
totalSentences195
matches
0"She shifted on the lichen-covered"
1"She'd been sitting here, cross-legged,"
2"She'd come because the dreams"
3"She was regretting the logic."
4"It was beautiful."
5"Her left hand went to"
6"He’d pressed it into her"
7"It was warm now."
8"She’d first felt it warm"
9"It had confirmed something she’d"
10"They were here, in London,"
11"She didn’t turn her head."
12"Her gaze stayed fixed on"
13"She was the only one"
14"She’d been sure of it."
15"She’d followed the path from"
16"She slipped off the stone,"
17"She stood, her breath a"
18"Her voice was too small,"
19"It was the sound of"
ratio0.344
62.56% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount155
totalSentences195
matches
0"The stone felt cold through"
1"She shifted on the lichen-covered"
2"She'd been sitting here, cross-legged,"
3"The Fae Grove had that"
4"Time went soft around the"
5"She'd come because the dreams"
6"Flashes of a life lived"
7"The faint, coppery taste of"
8"Eva said it was stress,"
9"A shape that dissolved into"
10"The place where the veil"
11"She was regretting the logic."
12"The grove was quiet."
13"The heavy, listening quiet of"
14"Moonlight filtered through the ancient"
15"It was beautiful."
16"Her left hand went to"
17"A thumb-sized piece of crimson"
18"He’d pressed it into her"
19"It was warm now."
ratio0.795
25.64% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences195
matches
0"If something from the other"
ratio0.005
69.60% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences78
technicalSentenceCount8
matches
0"Not the crisp cold of winter granite, but a damp, mossy chill that seeped in slow."
1"Moonlight filtered through the ancient oaks that created a ring of standing stones around the clearing, dappling the year-round wildflowers in silver and shadow…"
2"She’d followed the path from Richmond Park at dusk, slipping through the gap between two specific oaks that shouldn’t have been adjacent."
3"A careful, deliberate parting, as if something broad and low was pushing through, stem by stem."
4"The Fae woman who tended this grove was capricious, dangerous, but she was a known quantity."
5"Something too long, too jointed, ending in a cluster of twig-like fingers that clicked softly against each other."
6"A single, guttural syllable that carried the taste of stagnant water and damp rot."
7"The logic centre of her brain, the Cardiff University Pre-Law part that demanded evidence and precedent, fractured."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"Aurora whispered, her throat tight"
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"Aurora whispered (whisper)"
dialogueSentences10
tagDensity0.2
leniency0.4
rawRatio0.5
effectiveRatio0.2
81.8513%