Run: 2026-02-19-01KHTR2NE1ST7W1FJN30F0B5XH

Run Details

Duration:
3m 45s
Cost:
$0.004464
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
Blood streamed down Harlow Quinn's face into her mouth, copper-bright and bitter. She spat it onto the cobblestones and kept moving, each footfall sending a jolt through her leg where the suspect's boot had connected. The boy lay groaning at her feet, cursing in a language she didn't recognise, clutching his ribs. She’d told him to stop. He hadn’t. Now she shone her torch into the alley's gloom, the beam slicing through drizzle. He was gone. Chances were high he’d ducked into the derelict building opposite. Or maybe the side gate leading down into the old brewery yard. Or he’d slipped past the row of bins, quiet as a whisper. She wiped her sleeve across her eyes and ignored the throb in her shin. Someone had marked those ribs with a knife. Fresh, still running red. He'd heal fast, if the pattern held. Three months of tracking these people. Three months of zero official progress. Two dead cops—Morris, and now Pratchett—and Quinn wasn't closer to a usable lead. The stringèd perimeter of Soho became a single point of light. The green neon sign above The Raven’s Nest shimmered through the rain and steam rising from the gutter. She checked her watch, the frayed leather band worn soft. One thirty in the morning. Late enough for London’s underside to start stirring. A faint click of a latch sounded to her right. Her head snapped towards it. A side door opening onto the pavement, a pulse of lilting, sad music, then darkness again. A safe exit used by drunks wanting a discreet escape, or dealers making a fast drop. Quinn knew places like this inside out. She wasn't supposed to be working tonight. She had leave pending. She'd been called in anyway. The unspoken implication hung heavy in her department—Quinn was obsessed. The word slithered around the station like a snake. Obsessed with fringe cases, obsessed with dead ends, obsessed with losing Morris. Movement. A tall silhouette slid between two chimney stacks across the roofline of a Victorian workshop. It moved with predatory ease. Another of them. She took off at a sprint, weaving through rubbish bags and stacked pallets. The route became an exhausting, familiar labyrinth of dead ends and sudden drops. She went up a rusted fire escape, the metal groaning under her weight. Each floor brought her level with darkened windows. No one looked out. In this part of town, nobody wanted to know. A shriek erupted from a bolt-hole alleyway below her. Not pain—surprise. The noise was cut off as something heavy hit brick. She lowered herself onto the next roof and peered over the edge. Two men stood over a third, who lay curled on the ground. She recognised the one kneeling. Tomás Herrera. He wore a dark woollen coat, collar up against the cold, holding a kit bag open. His hands moved with practised, calm efficiency. "Easy now," Tomás murmured. "It’s just a dislocation." "I can fix it," the man on the ground groaned. "I can—" "You'll make it worse." Tomás pressed him flat with a gentle hand on his shoulder. "Breathe." Quinn watched him reset the shoulder with a single, swift motion. The man swore, then relaxed, panting. She saw the flash of the silver Saint Christopher medallion around Tomás’s neck as he moved. She'd seen him stitch up lacerations behind pubs, dig shrapnel out of arms, tend to all sorts that didn't want the attention of NHS or police. He'd lost his paramedic licence, but not his purpose. He had a dogged, quiet loyalty to his people. Whoever 'his people' were. She weighed her next move. Tomás wasn't her suspect tonight. He was a bridge. Sometimes a shaky one. But bridges collapsed under the right pressure. When Tomás stood, slinging his bag over his shoulder, she called out. "Evening, Tomás." He flinched, a smooth reflex he suppressed almost instantly. He turned his head, his eyes finding her on the roof edge. Rain slicked his short curls dark against his skin. "Detective Quinn." He gave a short nod. "You're out late." "So are you." "Someone needed help." "I need information." He gave a slow, impassive look at the man he'd just patched up. The man avoided his gaze, scrambling to his feet and melting into the shadows like smoke. "Can't help you, Detective." "See, I think you can. That lad you just sent on his way. He runs for the crew that's been hitting chemists in Bloomsbury. Not for the money. For ingredients." Tomás said nothing. "Your people," Quinn pressed. "They've been busy." "I help the sick. No law against that." "There is when it's the sick who're making people sicker." She climbed down from her perch, dropping the last four feet onto the wet pavement. She faced him, close enough to see the faint scar running along his left forearm. Knife burn from an attack last winter. He didn't offer any explanation then, either. He wiped his hands on a clean cloth pulled from his pocket. "What do you want?" "The arend looking kid I was chasing. Skinny, had a fresh blade wound on his side." "I saw no one." "I saw you see him." She matched his stillness. "He came this way. There's not many exits from this bottle. Unless you know the doors that don't show on a map." Tomás studied her for a long moment. Her face bruised, uniform muddied, stance unyielding. Something in his expression softened by a fraction. A grudging respect. "He went to ground." "Where?" "When the foxes go to ground, Detective, you don't follow them into the den." "I'll decide that. Where?" Tomás's gaze flickered to the manhole cover near the alley wall, sealed with rust and years of city grime. "Down." "No." "Then you'll never find him." "An access point." Tomás unclipped his medallion, held it out. She didn't take it. "It's not for you," he said, voice low. "It's for the gatekeeper. Past Judd Street. There's a door painted blue. You show this, you say Herrera sent you." "What's down there?" Tomás pocketed the medallion, slung his bag higher. "My advice? Forget you ever saw it." "Was that advice?" "It was a warning." He stepped past her into the rain without another word. Quinn watched him until he vanished around a corner. She leaned against the damp brick wall, fatigue crawling up her spine. The sensible thing—the clean, by-the-book thing—was to call it in. Put surveillance on Judd Street. Wait for the suspect to surface. Go home, change her bloody shirt, drink the single malt she kept for nights like this. She peeled herself off the wall and began walking. The blue door was where he'd said. Peeling paint the colour of a faded summer sky. It looked like the entrance to a basement flat, nothing more. She knocked, three sharp raps. A slit at eye level opened. Brown eyes stared out, blinking slow. "I'm with Herrera," she said. The eyes blinked again. "You don't smell like one of his." "I'm not." "Then why would I let you in?" Quinn held up Tomás's medallion by its chain. The silver Saint Christopher gleamed dully. The eyes regarded it. Silence for three long breaths. Then a series of clunks and thumps from within. The door swung inward. A man built like a retired boxer—busted nose, cauliflower ears—stood aside. "Don't cause trouble." "Wouldn't dream of it." She stepped into a narrow corridor that smelled of damp cement and petrichor. It sloped down, then opened into a cavernous space lit by strings of lanterns hanging from a vaulted ceiling. Her first thought was of a long-forgotten station platform. But the walls were Victorian brick arched into darkness, and the curved ceiling was supported by riveted iron beams crusted with age. Her second thought was that she'd seen it before. Not this place, but the energy. A low hum of murmured deals, the flash of strange coinage, the scent of exotic herbs mixed with blood and ozone. Stalls stretched into the gloom, each illuminated by its own specialised light—some candles in coloured glass, others humming electric bulbs strung on wires. The Veil Market. She'd heard rumours, of course. A place that moved with the moon, a bazaar where you could buy anything if you had the right currency and didn't ask the wrong questions. A bone token for entry, they said. She had a Saint Christopher medallion instead. Her shoes echoed on the worn stone flooring. Faces turned. Some curious, some wary, some blank. She saw goods laid out on velvet cloth: vials of glimmering liquid that seemed to contain captured moonlight; bundles of herbs tied with red string; amulets of bone and silver; weapons that looked more like ritual objects than tools of violence. She hadn't gone ten paces before a hand clamped on her arm. She spun, ready to strike. A woman with grey braids coiled tight around her head smiled. It didn't reach her cold eyes. "You don't belong here, blue-light." "I'm looking for someone." "Aren't we all?" The woman's gaze slid over Quinn's uniform. "You should leave. Before things get... uncivil." "I'll take my chances." The woman shrugged and released her arm. "Your funeral." Quinn moved deeper into the market. The crowd thickened, a mass of humanity punctuated by things that weren't quite human. Tall, slender figures with too many joints moved with liquid grace. A short, hairy creature with amber eyes hawked steaming pies that smelled of spiced meat. She kept her stance neutral, her expression flat. She was the wolf in the sheep pen. The trick was not letting the sheep realise they outnumbered her. Then she saw him. The boy from the alley. Leaning against a stall selling what looked like clockwork insects. He clutched his side, face pale with pain or blood loss, talking fast to a vendor. Quinn ducked behind a group inspecting strange, phosphorescent fungi. She edged closer, using the crowd as cover. The vendor shook his head. The boy gestured frantically, pulling a small velvet pouch from his pocket. He tipped its contents into his palm—three gleaming teeth. Not human. Something sharper. The vendor considered them, then nodded, handing over a small glass bottle half-filled with viscous amber liquid. The boy snatched it, started to turn. Quinn stepped into his path. His eyes widened. He froze, caught between her and the stall. The bottle slipped from his fingers. She caught it mid-air. For a second, they both stared at it, held in her gloved hand. Then he bolted. The crowd parted for him, a ripple of alarm. She shoved the bottle into her pocket and gave chase. He ducked under a low-hanging lantern, weaved between two traders arguing loudly in what sounded like Old Norse. He skidded on a patch of spilled liquid, righted himself, dashed towards a side tunnel at the market's edge. Quinn pushed through after him, losing sight for a second as he vanished into the tunnel mouth. It was narrower here, less crowded. The air grew colder. The lantern light receded, replaced by the ghostly flicker of gas lamps bolted to ancient brickwork. She heard his footsteps echo back to her, frantic and slipping on wet stone. He was tiring. She picked up speed, her own boots splashing through puddles of stagnant water. The tunnel opened into a circular chamber. Stone benches ringed the walls. A dead end. He stood panting in the centre, back to her, shoulders heaving. "Enough," Quinn said, her voice bouncing off the damp walls. He turned slowly. His knife wound had started bleeding again, seeping through his thin shirt. His face was young, scared. "Why'd you run?" "You're cops," he spat. "Always asking questions." "You stabbed a constable." "He shouldn't have grabbed her!" Quinn went still. "Her?" The boy's face flickered with panic. He'd said too much. He backed away until his shoulders hit cold stone. "Who?" Quinn took a step forward. "Who shouldn't he have grabbed?" His eyes darted to the tunnel behind her. Quinn glanced back. A shadow detached itself from the wall, resolving into a tall, slender figure. Female. Dressed in dark, close-fitting clothes, her face obscured by a cowl. The boy whimpered. The woman ignored him, her focus on Quinn. She moved forward, silent, fluid. "Police," Quinn said, her hand going to her belt. "Step where I can see you." The woman didn't stop. She didn't speak. Quinn drew her baton. "Stop." The woman kept coming. Three paces away, she reached up and lowered her cowl. Quinn's breath hitched. She knew that face. Not from a file, not from a briefing. From a dream she'd had for three years straight. Same high cheekbones, same severe mouth, same eyes the colour of winter twilight. Morris's killer. Quinn had never seen her clearly. Only flashes in nightmares. The glint of a blade. A shock of dark hair against bloodied snow. A whispered phrase in a language that curdled her blood. Now she stood real and solid in front of her. The woman smiled. It was a cold, dreadful thing. "That," she said, her voice like gravel and honey. "Is a very good question." She raised her hands. The air in the chamber dropped twenty degrees. Quinn tightened her grip on the baton. Behind her, the boy whispered a single word. "Run."
created_at"2026-02-19T10:45:36.329Z" 2/19/2026, 10:45:36 AM
model"microsoft/wizardlm-2-8x22b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2365
moderation_latency(null)
generation_time225342
tokens_prompt4665
tokens_completion3448
native_tokens_prompt4222
native_tokens_completion2978
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"
usage0.004464
router(null)
provider_responses
0
endpoint_id"92d0658f-b48a-4746-96e7-75ea71d5e060"
id"fe61e8e3-831d-409e-ad2b-fa440d9c80c6"
is_byokfalse
latency2365
model_permaslug"microsoft/wizardlm-2-8x22b"
provider_name"Novita"
status200
api_type"completions"
id"gen-1771497936-DZuxFs2Pn23K5f2sO78W"
upstream_id"fe61e8e3-831d-409e-ad2b-fa440d9c80c6"
total_cost0.004464
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
totalTags15
adverbTagCount0
adverbTags(empty)
dialogueSentences64
tagDensity0.234
leniency0.469
rawRatio0
effectiveRatio0
95.52% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2233
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"very"
count1
highlights
0"slowly"
1"very"
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)
46.26% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2233
totalAiIsms24
found
0
word"footfall"
count1
1
word"gloom"
count2
2
word"whisper"
count1
3
word"throb"
count1
4
word"shimmered"
count1
5
word"pulse"
count1
6
word"unspoken"
count1
7
word"implication"
count1
8
word"familiar"
count1
9
word"weight"
count1
10
word"flickered"
count2
11
word"silence"
count1
12
word"electric"
count1
13
word"echoed"
count1
14
word"velvet"
count2
15
word"gleaming"
count1
16
word"flicker"
count1
17
word"footsteps"
count1
18
word"echo"
count1
19
word"resolving"
count1
20
word"glint"
count1
highlights
0"footfall"
1"gloom"
2"whisper"
3"throb"
4"shimmered"
5"pulse"
6"unspoken"
7"implication"
8"familiar"
9"weight"
10"flickered"
11"silence"
12"electric"
13"echoed"
14"velvet"
15"gleaming"
16"flicker"
17"footsteps"
18"echo"
19"resolving"
20"glint"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences222
matches
0"d with panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences222
filterMatches
0"watch"
hedgeMatches
0"tend to"
1"seemed to"
2"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences271
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2213
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions2
matches
0"When Tomás stood, slinging his bag over his shoulder, she called out."
1"A bone token for entry, they said."
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions62
wordCount1904
uniqueNames20
maxNameDensity1.21
worstName"Quinn"
maxWindowNameDensity4.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn23
Morris3
Pratchett1
Soho1
Raven1
Nest1
London1
Victorian2
Herrera1
Tomás12
Saint3
Christopher3
Judd1
Street1
Veil1
Market1
Old1
Norse1
Three3
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Raven"
4"Nest"
5"Herrera"
6"Tomás"
7"Saint"
8"Christopher"
places
0"Soho"
1"London"
2"Judd"
3"Street"
4"Market"
5"Old"
globalScore0.896
windowScore0.167
66.11% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences149
glossingSentenceCount5
matches
0"looked like the entrance to a basement fl"
1"liquid that seemed to contain captured moonlight; bundles of herbs tied with red string; amulets of bone and silver; weapons that looked more like ritual objects than tools of violence"
2"quite human"
3"looked like clockwork insects"
4"sounded like Old Norse"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.452
wordCount2213
matches
0"Not this place, but the energy"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences271
matches
0"was that she'd"
1"knew that face"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs115
mean19.24
std20.1
cv1.045
sampleLengths
057
12
284
354
423
554
647
71
883
921
1012
1142
128
1312
1416
1581
1625
1712
182
1930
2010
213
223
233
2429
254
2630
273
287
298
3054
3116
3216
334
3431
3525
364
371
3814
394
4020
411
425
433
4411
4528
463
4715
483
494
98.94% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences222
matches
0"was gone"
1"been called"
2"was obsessed"
3"was supported"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs344
matches
0"was not letting"
58.51% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount10
semicolonCount3
flaggedSentences8
totalSentences271
ratio0.03
matches
0"Two dead cops—Morris, and now Pratchett—and Quinn wasn't closer to a usable lead."
1"The unspoken implication hung heavy in her department—Quinn was obsessed."
2"Not pain—surprise."
3"The sensible thing—the clean, by-the-book thing—was to call it in."
4"A man built like a retired boxer—busted nose, cauliflower ears—stood aside."
5"Stalls stretched into the gloom, each illuminated by its own specialised light—some candles in coloured glass, others humming electric bulbs strung on wires."
6"She saw goods laid out on velvet cloth: vials of glimmering liquid that seemed to contain captured moonlight; bundles of herbs tied with red string; amulets of bone and silver; weapons that looked more like ritual objects than tools of violence."
7"He tipped its contents into his palm—three gleaming teeth."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount767
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.018252933507170794
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences271
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences271
mean8.17
std5.57
cv0.683
sampleLengths
012
123
217
35
42
514
63
710
812
912
1014
118
124
137
146
156
1613
1711
1818
1910
205
218
2210
235
2416
2516
267
277
284
295
3010
319
3212
331
3415
355
363
3713
3813
3913
408
414
429
439
442
4510
4612
4712
485
492
41.94% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats28
diversityRatio0.31365313653136534
totalSentences271
uniqueOpeners85
80.13% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences208
matches
0"Sometimes a shaky one."
1"Then a series of clunks"
2"Then she saw him."
3"Then he bolted."
4"Only flashes in nightmares."
ratio0.024
68.08% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount79
totalSentences208
matches
0"She spat it onto the"
1"She’d told him to stop."
2"He was gone."
3"She wiped her sleeve across"
4"He'd heal fast, if the"
5"She checked her watch, the"
6"Her head snapped towards it."
7"She wasn't supposed to be"
8"She had leave pending."
9"She'd been called in anyway."
10"It moved with predatory ease."
11"She took off at a"
12"She went up a rusted"
13"She lowered herself onto the"
14"She recognised the one kneeling."
15"He wore a dark woollen"
16"His hands moved with practised,"
17"She saw the flash of"
18"She'd seen him stitch up"
19"He'd lost his paramedic licence,"
ratio0.38
48.94% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount171
totalSentences208
matches
0"Blood streamed down Harlow Quinn's"
1"She spat it onto the"
2"The boy lay groaning at"
3"She’d told him to stop."
4"He was gone."
5"Chances were high he’d ducked"
6"She wiped her sleeve across"
7"Someone had marked those ribs"
8"He'd heal fast, if the"
9"The stringèd perimeter of Soho"
10"The green neon sign above"
11"She checked her watch, the"
12"A faint click of a"
13"Her head snapped towards it."
14"A side door opening onto"
15"A safe exit used by"
16"Quinn knew places like this"
17"She wasn't supposed to be"
18"She had leave pending."
19"She'd been called in anyway."
ratio0.822
48.08% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences208
matches
0"Now she shone her torch"
1"Now she stood real and"
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount4
matches
0"The boy lay groaning at her feet, cursing in a language she didn't recognise, clutching his ribs."
1"The man avoided his gaze, scrambling to his feet and melting into the shadows like smoke."
2"She saw goods laid out on velvet cloth: vials of glimmering liquid that seemed to contain captured moonlight; bundles of herbs tied with red string; amulets of …"
3"He stood panting in the centre, back to her, shoulders heaving."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount3
matches
0"he said, voice low"
1"Quinn said, her voice bouncing off the damp walls"
2"Quinn said, her hand going to her belt"
71.88% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount5
fancyTags
0"Tomás murmured (murmur)"
1"the ground groaned (groan)"
2"Tomás pressed (press)"
3"Quinn pressed (press)"
4"he spat (spit)"
dialogueSentences64
tagDensity0.156
leniency0.313
rawRatio0.5
effectiveRatio0.156
82.2018%