Run: 2026-02-19-01KHTR02QBZ4EJRAVAYXQ374AH

Run Details

Duration:
44.5s
Cost:
$0.031337
Provider:
Cohere

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Chapter: Edge of Dusk The air thinned as they stepped into the grove, their footsteps silenced by the mist-laden grass. It was as if the noise of London had faded with each step, leaving behind a hush that seemed to reverberate across centuries. Aurora drew closer to the others—a man and a woman, both strangers to her but companions for this journey. Isolde guided them, her ethereal presence a comforting beacon in this enigmatic realm. "The boundary is permeable here," Nyx's voice, a soft whisper on the breeze, drew Aurora's attention. "A rare place where the realms intertwine, offering glimpses of both sides." The so-called 'Grove' was a mystery to Rory. It had been mentioned in hushed whispers among her workmates at the restaurant, a hidden sanctuary within the city, yet none could agree on its location or the true nature of its powers. Now, she was here, the first of the group to ever set foot in the Grove, and the evening fog shrouded the oak standing stones marking its perimeter. "Time works differently here," Isolde continued, her words almost a song that made Rory think of wind through rushes, birds singing, trees sighing. " mortals risk becoming entangled, lost between moments." The group ventured forth, brushing through wildflowers that didn't go dormant. What else could she expect from a place touched by the fae? Rory sniffed, catching the fragrance of lavender. They passed another standing stone, a boundary marker, that smelled faintly of cinnamon. "We mustn't linger in one place too long," Nyx cautioned. "The Grove tolerates our passage, but we are intruders nonetheless." A sudden rustle in the undergrowth startled them. Rory had learned to be wary of creatures beyond her understanding, but a mundane badger popped into view and ambled into a thicket, leaving behind a subtle musky odour. Behind the badger, Rory could see an edge of dark tunnel burrowed into the earth. "We're not alone," the woman, a tall, red-headed Fae with freckles and leather armour, said. The man, a mortal Rory put somewhere between 20 and 35, added in a slight Scottish accent with a voice that was nice to hear, "I can feel something here... an aura. Grim, but not violent." Following them, Rory looked for whatever they had sensed. Off to the side of the path she found a cairn. Around it grew a cluster of toadstools. They glowed softly with a sickly emerald phosphorescence, the same colour as the fae woman's eyes. Rory shivered, not quite knowing why. After a few minutes of watching, she checked the spot for shadows. When she cast the light of her torch on them, she saw them for what they were—the mushrooms were feeding on the corpselight of a corpse. But why didn't the body lay prone? She shined her light downward and discovered the cairn was resting over a sepulchre, and underneath it lay the body of a warrior. The one thing in this place she recognised... the body's cloak of moonlight-coloured tresses was shot through with fine threads of silver—Rory had heard some of these were weaved at a lunar event none saw with their waking eyes, where on the celestial loom of Somnus the fates for each strand of life were decided—moonsilver. While the woman shared her backstory as an enthusiast of its magical properties, and Nyx began to step inside the cairn, Rory moved her torch around. The artfully stacked stones caught the light, revealing a faint inscription of ancient power... and then suddenly, only she was still standing. The fae and the nondescript mortal were suspended in mid-move, as if time had stopped mid-step, and Nyx was a living shadow, his outlines visible as if hidden by a dark veil no mortal could see through. A faint amber light encircled the group, and the scene changed, as if the stones were a portal, projecting a picture of something ancient and akin to a mental impression of being from another world altogether. She, a mere mortal, was still unchanged, unstalled. She looked around, at the towering violet trees with their verdant trunks and branches that seemed to sigh. Lush, wild yet almost familiar flora was throughout. Through a glimpse of towering columns, she saw large sprawls of land all the same, as if the grove was not a small hidden sanctuary, but an immense forest. Rory glanced back, suspicious of the illusion. She felt convinced this was only a vision... or was it? One could get lost forever in here... she remembered Nyx's words, how time worked differently, of mortals entrapped between moments, of being there too long... She remembered her Heartstone and reached for it, feeling its heat, pulsing in her palm as if its warmth had awakened. She could see the portal closing, see the unmoving forms returning to normal—time had stopped, and now it was flowing back into reality, back into the too-real nature of the Grove, back to the mortal-weary realm of Hel. Rory's fingers tingled, as if her nail beds had gone numb, as she took hold of the pendant and grasped it tightly in her hand. It had happened again—time dilation, she thought, the dilation of time. And it would continue to happen until—what? Until she became saturated, or until it affected her motor skills, or until it twisted her mind beyond repair. Rory looked at her companions, their faces once more alive with a radiating colour of being, the glow of their living aura as bright as when she had first seen them. They were still oblivious—she couldn't speak to them of her experiences without sounding mad, or, worse, becoming wanted by the Wardens, like her father before her. "'Mind the worms, they're venomous," Isolde said. She was holding her hands up, carefully manipulating the fine silvery threads of the moonsilver, the same glow she had previously seen, pulling them from the cairn through the air and apparently threading them like the weft of a loom. The woman nodded, peering at it closer. "Do you perform an enchantment?" She had a squint about her eyes that Rory attributed to her yearning for something. The woman reached for the dagger, withdrawing it from its sheath. "Can I?" "Of course," Isolde softly replied, before carefully casting the silvery thread to her. The woman, with trembling hands, turned, positioning the blade at a perfect angle where the thread was suspended. Once set, she touched a crystal quartz, sending a sapphire-coloured spark dancing across the moonsilver, forging it with unseen energies to the dagger. The mortals all silently watched, until Isolde gently whispered, "Let me show you what a blood inscription looks like." Rory flinched, utterly terrified by the savagery of the act before her, as the grand mistress pierced her palm with the dagger and began applying something that, to mortals, looked like regular ink over the moonsilver threads, now spilled with blood and dancing like a web of life. She stepped back to inspect the blade. "[The dagger] has been tempered with her life force", Rory whispered, shocked as she spied the dew of mortal blood on it. "You've made [the moonsilver] stronger", she said. "The inscription, the incantation... is... Is it fae, Isolde?", she asked. "No. I'm bound to the truth, so you see. 'Tis the language of this realm; Englissh. Now no deadly charms nor necromancy will've sway over ye, nor the life force reflected in this steel will ever be bound nor bent." —Shit. She was going to—No. No, Rory, you have to focus. Think, think. Think straight. You must get back—Rory inhaled slowly, still and alive, listening to her heart; it pounded against her chest swiftly and desperately. A prompt to keep going. Rory reached inside her pocket for her packet of tobacco, placing a pinch between lips and gum, a buzz she could control. The rest was hidden in her sock and slid down her boot's mesh. She pulled on the scarf snugly around her neck and ran a hand over her short, straight hair, concealing herself like the master dodger she once was. She was still a wanted person, and with Isolde's address to get to, she might've already bitched herself out of this world. Rory looked around, the trees now but whispers of a distant forest. She saw the cairn and the fugue dissipating. Rory whispered, "You two," repeating it louder. "Two! Over here! We have to get moving before the door closes."
created_at"2026-02-19T10:44:11.635Z" 2/19/2026, 10:44:11 AM
model"cohere/command-r-plus-08-2024"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency858
moderation_latency212
generation_time44155
tokens_prompt5338
tokens_completion2119
native_tokens_prompt4939
native_tokens_completion1899
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.0313375
router(null)
provider_responses
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endpoint_id"cd63714a-d459-4806-bdf2-0dfea4f6614c"
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is_byokfalse
latency858
model_permaslug"cohere/command-r-plus-08-2024"
provider_name"Cohere"
status200
api_type"completions"
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upstream_id"1c5aeb70-040f-476e-b570-325a46bce525"
total_cost0.0313375
cache_discount(null)
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provider_name"Cohere"

Evaluation details

Result Evaluator Details Meta Data
18.18% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount2
adverbTags
0"a mortal Rory put somewhere [somewhere]"
1"Isolde softly replied [softly]"
dialogueSentences19
tagDensity0.579
leniency1
rawRatio0.182
effectiveRatio0.182
68.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1423
totalAiIsmAdverbs9
found
0
adverb"softly"
count2
1
adverb"suddenly"
count1
2
adverb"tightly"
count1
3
adverb"carefully"
count2
4
adverb"gently"
count1
5
adverb"utterly"
count1
6
adverb"slowly"
count1
highlights
0"softly"
1"suddenly"
2"tightly"
3"carefully"
4"gently"
5"utterly"
6"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)
50.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1423
totalAiIsms14
found
0
word"footsteps"
count1
1
word"comforting"
count1
2
word"beacon"
count1
3
word"enigmatic"
count1
4
word"whisper"
count1
5
word"sanctuary"
count2
6
word"familiar"
count1
7
word"warmth"
count1
8
word"yearning"
count1
9
word"perfect"
count1
10
word"crystal"
count1
11
word"dancing"
count2
highlights
0"footsteps"
1"comforting"
2"beacon"
3"enigmatic"
4"whisper"
5"sanctuary"
6"familiar"
7"warmth"
8"yearning"
9"perfect"
10"crystal"
11"dancing"
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
narrationSentences80
matches(empty)
71.43% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences80
filterMatches
0"think"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences86
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1405
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1237
uniqueNames16
maxNameDensity1.62
worstName"Rory"
maxWindowNameDensity3.5
worstWindowName"Rory"
discoveredNames
Edge1
Dusk1
London1
Aurora2
Grove2
Rory20
Fae1
Scottish1
Following1
Somnus1
Nyx5
Heartstone1
Hel1
Wardens1
Isolde6
Shit1
persons
0"Aurora"
1"Rory"
2"Nyx"
3"Isolde"
places
0"London"
1"Grove"
globalScore0.692
windowScore0.5
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences68
glossingSentenceCount5
matches
0"It was as if the noise of London had faded with each step, leaving behind a hush that seemed to reverberate across centuries"
1"hush that seemed to reverberate across centuries"
2"not quite knowing why"
3"branches that seemed to sigh"
4"gh the air and apparently threading them like"
5"looked like regular ink over the moonsilv"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.712
wordCount1405
matches
0"not a small hidden sanctuary, but an immense forest"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences86
matches(empty)
90.94% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs30
mean46.83
std21.93
cv0.468
sampleLengths
04
171
228
369
431
543
620
752
815
936
1043
1174
1255
1348
1437
1544
1698
1759
1862
1957
2047
2140
2254
2319
2448
2547
2640
2741
28104
2919
87.72% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences80
matches
0"been mentioned"
1"was shot"
2"were weaved"
3"were decided"
4"were suspended"
5"was hidden"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs207
matches
0"were feeding"
1"was holding"
2"was going"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount11
semicolonCount2
flaggedSentences11
totalSentences86
ratio0.128
matches
0"Aurora drew closer to the others—a man and a woman, both strangers to her but companions for this journey."
1"When she cast the light of her torch on them, she saw them for what they were—the mushrooms were feeding on the corpselight of a corpse."
2"the body's cloak of moonlight-coloured tresses was shot through with fine threads of silver—Rory had heard some of these were weaved at a lunar event none saw with their waking eyes, where on the celestial loom of Somnus the fates for each strand of life were decided—moonsilver."
3"She could see the portal closing, see the unmoving forms returning to normal—time had stopped, and now it was flowing back into reality, back into the too-real nature of the Grove, back to the mortal-weary realm of Hel."
4"It had happened again—time dilation, she thought, the dilation of time."
5"And it would continue to happen until—what?"
6"They were still oblivious—she couldn't speak to them of her experiences without sounding mad, or, worse, becoming wanted by the Wardens, like her father before her."
7"\"No. I'm bound to the truth, so you see. 'Tis the language of this realm; Englissh. Now no deadly charms nor necromancy will've sway over ye, nor the life force reflected in this steel will ever be bound nor bent.\""
8"—Shit."
9"She was going to—No."
10"You must get back—Rory inhaled slowly, still and alive, listening to her heart; it pounded against her chest swiftly and desperately."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount313
adjectiveStacks0
stackExamples(empty)
adverbCount9
adverbRatio0.02875399361022364
lyAdverbCount5
lyAdverbRatio0.01597444089456869
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences86
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences86
mean16.34
std10.81
cv0.662
sampleLengths
020
123
219
313
416
512
68
733
828
923
108
1111
1212
137
1413
1510
1610
178
1829
1915
2015
2136
229
2311
247
2516
266
2712
2826
297
3023
318
3247
3326
3414
358
3637
3736
388
3918
408
4129
427
438
443
457
4618
4721
4838
4925
66.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.4418604651162791
totalSentences86
uniqueOpeners38
46.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences72
matches
0"Once set, she touched a"
ratio0.014
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount21
totalSentences72
matches
0"It was as if the"
1"It had been mentioned in"
2"They passed another standing stone,"
3"They glowed softly with a"
4"She shined her light downward"
5"She, a mere mortal, was"
6"She looked around, at the"
7"She felt convinced this was"
8"she remembered Nyx's words, how"
9"She remembered her Heartstone and"
10"She could see the portal"
11"It had happened again—time dilation,"
12"They were still oblivious—she couldn't"
13"She was holding her hands"
14"She had a squint about"
15"She stepped back to inspect"
16"She was going to—No."
17"You must get back—Rory inhaled"
18"She pulled on the scarf"
19"She was still a wanted"
ratio0.292
98.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount52
totalSentences72
matches
0"It was as if the"
1"Aurora drew closer to the"
2"Isolde guided them, her ethereal"
3"Nyx's voice, a soft whisper"
4"It had been mentioned in"
5"Isolde continued, her words almost"
6"The group ventured forth, brushing"
7"Rory sniffed, catching the fragrance"
8"They passed another standing stone,"
9"A sudden rustle in the"
10"Rory had learned to be"
11"the woman, a tall, red-headed"
12"The man, a mortal Rory"
13"They glowed softly with a"
14"Rory shivered, not quite knowing"
15"She shined her light downward"
16"The one thing in this"
17"the body's cloak of moonlight-coloured"
18"The artfully stacked stones caught"
19"The fae and the nondescript"
ratio0.722
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences72
matches
0"Now, she was here, the"
1"While the woman shared her"
ratio0.028
57.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount5
matches
0"It was as if the noise of London had faded with each step, leaving behind a hush that seemed to reverberate across centuries."
1"The fae and the nondescript mortal were suspended in mid-move, as if time had stopped mid-step, and Nyx was a living shadow, his outlines visible as if hidden b…"
2"A faint amber light encircled the group, and the scene changed, as if the stones were a portal, projecting a picture of something ancient and akin to a mental i…"
3"Through a glimpse of towering columns, she saw large sprawls of land all the same, as if the grove was not a small hidden sanctuary, but an immense forest."
4"She remembered her Heartstone and reached for it, feeling its heat, pulsing in her palm as if its warmth had awakened."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"Isolde continued (continue)"
1"Rory whispered (whisper)"
2"Rory whispered (whisper)"
dialogueSentences19
tagDensity0.421
leniency0.842
rawRatio0.375
effectiveRatio0.316
76.9044%