Run: 2026-02-19-01KHTQXM6VCXPJT0KPZVY6YHHC

Run Details

Duration:
3m 16s
Cost:
$0.004434
Provider:
Novita

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 bone token tore through the rain-drenched midnight air, glinting green in the halos of street lamps before vanishing into the sewer grate with a faint clatter. Harlow Quinn lunged, fingers grasping at wet iron bars slick with grime. She slid to her knees on slick tarmac, a curse lost in the downpour. Her watch glowed pale in the gloom—2:42 a.m. She’d been three steps behind him for six blocks now. Below her, the grate led into darkness. *The Veil Market moved last full moon*, her notes said. Designated stacks of paper smeared with ink now sat sodden in her pocket. She’d been following Cyrus Kane, a legitimate fence with surprisingly supernatural clientele, since his first suspicious cash drop-off two nights ago. Tomás had flagged him weeks ago, her off-book informant handing over Kane’s name written on a napkin alongside a mug of bourbon. *Abandoned Tube station beneath Camden.* Reality sank in. Procedure demanded she call for backup. Close off exits. Wait for armed response. Procedure never caught Kane. And procedure never figured out what happened to DS Morris three years ago in the dark places beneath London. Quinn pulled at the grate. Locked. Of course. She unclipped her belt, hooked her torch into the grating, and swung her boot hard against the rusted padlock. Once. Twice. The third kick tore it free with a shriek of rusted metal. The grate swung down into the dark. She slid through, landing hard on slick concrete twelve feet below. Water sloshed around her ankles. The tunnel smelled of fried spiced meats, ozone, and wet earth. Voices drifted from somewhere ahead, mingled with the monotonous hum of generators. *Vendors’ lingo—mostly Balkan slang if Tomás’ briefing held true, prices haggled in code.* Three rules of enforcement down here: no sudden moves, no shining lights in eyes, don’t touch the merchandise without permission. She unlatched her sidearm, finger resting beside the trigger guard. Her issued pistol held standard rounds. Tomás had given her a clip of iron-jacketed ones two months ago. They’d sat loaded in her top drawer, unused, until tonight. The passage curved left. Light sources grew—not electric, she realized. Bioluminescent moss cast enough greenish light to reveal a cavernous space ahead. The Market. Stalls crammed into what had once been the southbound platform of Camden Town station. Most were simple fold-out tables draped in faded cloth and lit by glowing orbs or antique lamps. One displayed row upon row of bottled cures, their amber liquids containing floating newt tails, withered petals, and—in one unforgettable case—what looked like a human eye. Another stall sold items Quinn struggled to categorise: twisted metal rods, delicate silver talismans, and small canvas sacks that seemed to writhe faintly. People moved through the spaces. Some were decorated with oddities Quinn had seen only in crime scene photos—iridescent skin shimmering, unnaturally long fingers gripping lanterns, faces too pale or too shadowed by the Market’s half-light. Others were merely humans, their eyes darting nervously or gleaming with a mundane kind of greed. Quinn’s gaze swept the crowded area. Her training kept her scanning for exits—two visible tunnels leading off the main platform, plus a spiralling metal staircase bolted to the far wall that might lead back up—and potential threats. And then she saw him. Kane stood at a stall near the northern tunnel entry, haggling with a vendor whose face was a combination of wrinkled leather and dark glasses that hid any semblance of eyes. Kane’s usual professional sleekness had been replaced by desperation. His coat was drenched through, his dark hair plastered to his scalp. One hand gestured—too wide, too frantic—around a small wooden box he was trying to purchase. The vendor shook his head slowly. Kane fumbled in his soaked pockets again, pulling out a roll of banknotes, followed by several gleaming trinkets that caught the dim light. Quinn began moving. She kept her shoulders loose, her steps smooth. She blended, or tried to, with the crowd—a woman in a dark raincoat, looking for a deal, nothing to notice. Four stalls away, she paused beside a seller of intricate paper-cut amulets. Pretending to examine a delicate pattern of protective symbols, she kept her peripheral vision fixed on Kane. “That one’s fae-made.” The voice beside her was a rasp that seemed to scrape up from the soles of leather boots. The vendor—their pale face sunken with the hollowed look of a long-term London dweller—didn’t look up from their hands as they painstakingly folded another cut-out symbol. “Keeps off the Hatchet-men. Expensive.” Quinn made a noncommittal hum in the back of her throat. The vendor’s eyes flicked to her sidearm, then back to her face. Recognition—not of Quinn, but of what she represented—flashed across their expression for half a second before smoothing back into professional neutrality. Kane exchanged his bankroll for the box. The vendor tucked the money away without counting. As Kane hurried towards the northern tunnel, Quinn abandoned her pretense. She moved after him, her boots splashing in shallow puddles left by countless wet feet before hers. “Oi.” One syllable, low and unaccented, but it stopped her cold. A large figure stepped into her path—not quite blocking the tunnel, but making it clear she’d have to go through them. They wore a worn leather apron over workman’s clothes, their head shaved clean. Their hands were crossed over their chest, fingers thick and scarred from what Quinn guessed was some kind of craft involving heavy tools. “Market’s closed,” the figure said. Quinn showed her warrant card—a single flick of the leather holder, enough for the badge to catch the light. “Detective Quinn. Metropolitan Police.” “Don’t matter." The aperson’s voice held no malice. Just factual indifference. “Still closed.” “I’m in pursuit of a suspect.” The figure’s eyes flicked behind her. Over her shoulder, Quinn sensed movement. A subtle shift in the Market’s ambience, the hesitant way the soft murmur of deals slowed in her vicinity. She was being watched. “You should leave,” the figure said. Their tone wasn’t threatening, but the finality in it was absolute. Kane vanished into the tunnel. Quinn weighed the situation. No visible weapons apart from some studded bands on the figure’s wrists that she suspected weren’t just decoration. Her sidearm gave her advantage—in theory. But she was one, and the Market was many. She didn’t know the tunnels. Didn’t know what waited down there. She thought about Morris. He’d gone into the dark places too. Heard something, he’d said in his last garbled report before comms went dead. *Something singing.* She’d repeated it in her nightmares for years. She cocked her head. “Let’s say I go back,” she said. Her voice was calm. Empty of challenge. “How do I explain to my superiors that I lost a prime suspect because someone denied me lawful access for a pursuit?” The figure’s lips tightened. “Then you shouldn’t have come.” “And your enforcement? Who do you pay taxes to? Who keeps the sewage running?” Quinn’s voice stayed measured. She lifted her torchlight, not at the figure’s face but at the rotting tiles above them. “I’m betting Camden Council doesn’t know you’re squatting down here. Health and Safety would have a field day.” A ripple moved through the crowd at the mention of officialdom. “You’re making a scene.” A new voice emerged from the shadows lining the wall—a woman this time, taller, slender, draped in layers of grey fabric that seemed to absorb the dim light. Quinn couldn’t make out her face, but the authority in her voice was clear. “Scenes are public,” Quinn replied, not looking away from the figure blocking her. “I’m a public servant. And my suspect just ran that way.” She gestured with her chin towards the tunnel entrance on the left. The tall woman came closer. She smelled of dried rosemary and something metallic, like old coins. “You are after Cyrus Kane.” The woman’s words weren’t a question. “He purchased corvid cypress resin. It will burn for exactly eight minutes. Which, for a man in flight, is approximately the length of these tunnels until he reaches daylight.” Quinn’s brain processed the information in seconds. The product. The likely escape route. The time frame. She looked back at the aperson still standing in her way. The aperson glanced sideways at the woman in grey cloth, then back at Quinn. Their hands uncrossed. They stepped aside. Quinn moved past them without another word. Her boots splashed into the tunnel’s damp floor, and she quickened her pace. The air grew colder, damper. The noise of the Market faded behind her, swallowed by dripping water and the scrape of her own breath. She ran. Darkness enveloped her five steps in. Her torchlight painted frantic circles on damp brick walls covered in layers of graffiti she couldn’t decipher. Footprints shone wet up ahead—Kane’s prints, maybe, overlapped by others older and obscured by time. The tunnel straightened for a stretch, then she heard it—the sharp crackle of something igniting ahead, followed by the brisk scent of pine resin. *Burn time: eight minutes.* Her pace tripled. She rounded a sharp bend in the tunnel, torchlight stabbing ahead. Something heavy and metallic clanged to the ground just in front of her. Her light caught the gleam of iron bars—a makeshift gate, rusted and chain-locked, now slammed shut across her path. On the other side, Kane leaned against the far wall, breathing hard. The wooden box was clutched to his chest with one arm. In his other hand, he held a resin-soaked torch that cast sharp, dancing shadows across his face. “Stay back,” he gasped. “This box stays with me, Quinn.” “End of the line, Cyrus.” Quinn tested the gate. Solid. She could aim a clean shot through the bars if she wanted. But the flickering resin flame distorted his outline, made his aim teeter uncontrollably. “You don’t know what’s in here.” He hefted the box. There was no pride in his voice, only desperation. “They’ll skin me alive if I don’t deliver.” “Then come in quietly.” Quinn’s fingers tightened on her pistol grip. “Testify. I can put you in protection.” Kane laughed—a short, raw sound that echoed weirdly down the tunnel. “Protection? You can’t even protect yourselves. Your partner, Morris—you ever wonder why they never found his gear? Not his torch, not his badge, not his—” She squeezed the trigger. Iron-jacketed round tore through the resin torch’s wooden handle, inches from Kane’s hand. Shards of flaming resin scattered across the tunnel floor, momentarily blinding her night vision. When the light adjusted, Kane was gone, and the gate’s lock hung open. He must have unlocked it on his run through, only to slam it shut behind him. The bars swung loose. Quinn pushed through, boots scattering embers as she sprinted down the corridor of flaring spots of flame. The resin faded fast, casting less light as she ran, plunging sections around her back into total darkness. Straight ahead, faint grey light beckoned. The tunnel exit. She burst from the opening into a narrow alley behind a row of terraced houses. Rain slapped her face again, washing away the tunnel’s earthy aroma. She spun, pistol levelled. Empty alleys met her in every direction. Kane had vanished. A man’s sharp cry cut through the downpour from somewhere to her right. Her weapon snapped towards the sound. She moved forward, keeping low along the damp brick wall. Her torch scanned puddles, rubbish bins, black plastic bags stuffed with who-knew-what. The cry didn’t repeat. She reached the corner, her heart hammering hard against her ribs. Slowly, she peered around the edge. Cyrus Kane lay sprawled across the wet paving stones, the wooden box knocked from his hand. It had cracked open against the ground. A pile of dark powder—the corvid cypress resin—spilled across the wet stone, immediately dissolving into black sludge. Beside him stood a figure wearing a long, dark coat and holding a curved blade, its steel edge blue-black in the rain. The figure looked down at Kane, then turned slowly towards Quinn. Their face was hidden beneath a wide-brimmed hat, but Quinn saw the unmistakable movement of their shoulders settling into a new target stance. They lifted the blade. Before Quinn could raise her pistol, they turned and vanished into the gloom between the houses. She rushed forward, dropping beside Kane. His throat was slit, crimson spreading in a dark pool beneath his head. His eyes were wide, fixed on something only he could see. Her torch flickered, battery dying. The rain washed blood from her hands as she checked for a pulse she already knew wasn’t there. Procedure. Procedure said preserve the scene. Call it in. Wait for forensics. Procedure hadn’t gotten Morris justice either. She stood up, her gaze catching movement from a window above. A curtain being drawn shut quick and tight. She snapped her torch upward, her knuckles white around the grip. Someone had watched. Someone had seen it all.
created_at"2026-02-19T10:42:51.233Z" 2/19/2026, 10:42:51 AM
model"microsoft/wizardlm-2-8x22b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1107
moderation_latency(null)
generation_time195912
tokens_prompt4665
tokens_completion3524
native_tokens_prompt4222
native_tokens_completion2930
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4160
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"
usage0.00443424
router(null)
provider_responses
0
endpoint_id"92d0658f-b48a-4746-96e7-75ea71d5e060"
id"a51a3964-4912-4e57-9a4e-3dcf7d435490"
is_byokfalse
latency1107
model_permaslug"microsoft/wizardlm-2-8x22b"
provider_name"Novita"
status200
api_type"completions"
id"gen-1771497771-MWfLoMFv2U0rM0x6E3GW"
upstream_id"a51a3964-4912-4e57-9a4e-3dcf7d435490"
total_cost0.00443424
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences27
tagDensity0.407
leniency0.815
rawRatio0
effectiveRatio0
90.88% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2192
totalAiIsmAdverbs4
found
0
adverb"nervously"
count1
1
adverb"slowly"
count3
highlights
0"nervously"
1"slowly"
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)
54.38% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2192
totalAiIsms20
found
0
word"glinting"
count1
1
word"gloom"
count2
2
word"standard"
count1
3
word"electric"
count1
4
word"gleaming"
count2
5
word"scanning"
count1
6
word"potential"
count1
7
word"intricate"
count1
8
word"flicked"
count2
9
word"measured"
count1
10
word"processed"
count1
11
word"quickened"
count1
12
word"dancing"
count1
13
word"echoed"
count1
14
word"scanned"
count1
15
word"flickered"
count1
16
word"pulse"
count1
highlights
0"glinting"
1"gloom"
2"standard"
3"electric"
4"gleaming"
5"scanning"
6"potential"
7"intricate"
8"flicked"
9"measured"
10"processed"
11"quickened"
12"dancing"
13"echoed"
14"scanned"
15"flickered"
16"pulse"
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
narrationSentences186
matches(empty)
96.77% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences186
filterMatches
0"watch"
hedgeMatches
0"happened to"
1"seemed to"
2"tried 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
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords31
totalWords2148
ratio0.014
matches
0"The Veil Market moved last full moon"
1"Abandoned Tube station beneath Camden."
2"Vendors’ lingo—mostly Balkan slang if Tomás’ briefing held true, prices haggled in code."
3"Something singing."
4"Burn time: eight minutes."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions72
wordCount1908
uniqueNames14
maxNameDensity1.31
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Quinn25
Veil1
Market6
Cyrus2
Kane19
Tube1
Reality1
Morris3
London2
Camden2
Town1
Solid1
Procedure5
One3
persons
0"Quinn"
1"Market"
2"Cyrus"
3"Kane"
4"Reality"
5"Morris"
6"Procedure"
places
0"London"
1"Camden"
2"Town"
globalScore0.845
windowScore0.667
71.88% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences128
glossingSentenceCount4
matches
0"looked like a human eye"
1"rasp that seemed to scrape up from the soles of leather boots"
2"not quite blocking the tunnel, but making it clear she’d have to go through them"
3"fabric that seemed to absorb the dim light"
60.34% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.397
wordCount2148
matches
0"not of Quinn, but of what she represented"
1"not quite blocking the tunnel, but making it clear she’d have to go through them"
2"not at the figure’s face but at the rotting tiles above them"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences201
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs89
mean24.13
std17.49
cv0.725
sampleLengths
027
144
273
35
416
54
619
741
87
939
1033
1138
1222
132
1480
1551
1637
175
1867
1929
2031
2129
2252
2311
2433
2515
2628
271
2810
2957
305
3123
3213
336
3435
3517
365
3742
386
3934
404
4136
429
4352
4411
4546
4624
4712
4816
4940
92.06% Passive voice overuse
Target: ≤2% passive sentences
passiveCount7
totalSentences186
matches
0"been replaced"
1"was drenched"
2"were crossed"
3"was clutched"
4"was gone"
5"was hidden"
6"being drawn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs332
matches
0"was trying"
1"was being"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount24
semicolonCount0
flaggedSentences18
totalSentences201
ratio0.09
matches
0"Her watch glowed pale in the gloom—2:42 a.m."
1"Light sources grew—not electric, she realized."
2"One displayed row upon row of bottled cures, their amber liquids containing floating newt tails, withered petals, and—in one unforgettable case—what looked like a human eye."
3"Some were decorated with oddities Quinn had seen only in crime scene photos—iridescent skin shimmering, unnaturally long fingers gripping lanterns, faces too pale or too shadowed by the Market’s half-light."
4"Her training kept her scanning for exits—two visible tunnels leading off the main platform, plus a spiralling metal staircase bolted to the far wall that might lead back up—and potential threats."
5"One hand gestured—too wide, too frantic—around a small wooden box he was trying to purchase."
6"She blended, or tried to, with the crowd—a woman in a dark raincoat, looking for a deal, nothing to notice."
7"The vendor—their pale face sunken with the hollowed look of a long-term London dweller—didn’t look up from their hands as they painstakingly folded another cut-out symbol."
8"Recognition—not of Quinn, but of what she represented—flashed across their expression for half a second before smoothing back into professional neutrality."
9"A large figure stepped into her path—not quite blocking the tunnel, but making it clear she’d have to go through them."
10"Quinn showed her warrant card—a single flick of the leather holder, enough for the badge to catch the light."
11"Her sidearm gave her advantage—in theory."
12"“You’re making a scene.” A new voice emerged from the shadows lining the wall—a woman this time, taller, slender, draped in layers of grey fabric that seemed to absorb the dim light."
13"Footprints shone wet up ahead—Kane’s prints, maybe, overlapped by others older and obscured by time."
14"The tunnel straightened for a stretch, then she heard it—the sharp crackle of something igniting ahead, followed by the brisk scent of pine resin."
15"Her light caught the gleam of iron bars—a makeshift gate, rusted and chain-locked, now slammed shut across her path."
16"Kane laughed—a short, raw sound that echoed weirdly down the tunnel."
17"A pile of dark powder—the corvid cypress resin—spilled across the wet stone, immediately dissolving into black sludge."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount436
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.03211009174311927
lyAdverbCount3
lyAdverbRatio0.006880733944954129
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
mean10.69
std7.07
cv0.662
sampleLengths
027
112
214
38
410
57
610
713
821
922
105
113
126
133
144
154
1619
175
181
192
2019
211
221
2312
247
2511
265
2711
2812
2933
3010
316
3212
3310
344
356
3612
372
3814
3917
4026
4123
425
4330
4416
456
4631
475
4831
499
66.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4228855721393035
totalSentences201
uniqueOpeners85
38.10% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences175
matches
0"Just factual indifference."
1"Slowly, she peered around the"
ratio0.011
96.57% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount54
totalSentences175
matches
0"She slid to her knees"
1"Her watch glowed pale in"
2"She’d been three steps behind"
3"She’d been following Cyrus Kane,"
4"She unclipped her belt, hooked"
5"She slid through, landing hard"
6"She unlatched her sidearm, finger"
7"Her issued pistol held standard"
8"They’d sat loaded in her"
9"Her training kept her scanning"
10"His coat was drenched through,"
11"She kept her shoulders loose,"
12"She blended, or tried to,"
13"She moved after him, her"
14"They wore a worn leather"
15"Their hands were crossed over"
16"She was being watched."
17"Their tone wasn’t threatening, but"
18"Her sidearm gave her advantage—in"
19"She didn’t know the tunnels."
ratio0.309
60.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount140
totalSentences175
matches
0"The bone token tore through"
1"Harlow Quinn lunged, fingers grasping"
2"She slid to her knees"
3"Her watch glowed pale in"
4"She’d been three steps behind"
5"*The Veil Market moved last"
6"She’d been following Cyrus Kane,"
7"Tomás had flagged him weeks"
8"Reality sank in."
9"Procedure demanded she call for"
10"Procedure never caught Kane."
11"Quinn pulled at the grate."
12"She unclipped her belt, hooked"
13"The third kick tore it"
14"The grate swung down into"
15"She slid through, landing hard"
16"Water sloshed around her ankles."
17"The tunnel smelled of fried"
18"Voices drifted from somewhere ahead,"
19"She unlatched her sidearm, finger"
ratio0.8
28.57% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences175
matches
0"Before Quinn could raise her"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences92
technicalSentenceCount4
matches
0"Others were merely humans, their eyes darting nervously or gleaming with a mundane kind of greed."
1"Her training kept her scanning for exits—two visible tunnels leading off the main platform, plus a spiralling metal staircase bolted to the far wall that might …"
2"Kane stood at a stall near the northern tunnel entry, haggling with a vendor whose face was a combination of wrinkled leather and dark glasses that hid any semb…"
3"Kane fumbled in his soaked pockets again, pulling out a roll of banknotes, followed by several gleaming trinkets that caught the dim light."
79.55% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount1
matches
0"Quinn replied, not looking away from the figure blocking her"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"he gasped (gasp)"
dialogueSentences27
tagDensity0.185
leniency0.37
rawRatio0.2
effectiveRatio0.074
83.3917%