Run: 2026-02-19-01KHTRMJT9848T89W19DDEFQ4M

Run Details

Duration:
3m 15s
Cost:
$0.004281
Provider:
Novita

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
The portal didn't so much open as the world tore. One second Rory was standing in Isolde's grove, the cool evening air smelling of damp earth and wildflowers. The next, a vertical slit of warm amber light appeared in the air before her. It widened without sound, peeling reality back like a scab. Through it, heat washed over her face, carrying the scent of roasting meats, honey, and something spiced she couldn't name. "Is this safe?" She hadn't meant to ask out loud. The question sounded small, ridiculous. She held the Fae-Forged Blade Isolde had given her, its hilt cold against her palm even in the heat pouring from the rip. Nyx flowed past her, their shadowy form solidifying into a humanoid silhouette just inside the tear. "Define safe." Their voice was a whisper, the kind you hear in the quiet after a door shuts. It held no comfort. "We are expected, child," Isolde said from behind her. The Half-Fae seer hadn't moved from where she stood by the oak stones. Her lavender eyes watched the portal, expression unreadable. "The pendant called. Dymas answered. The invitation was never a choice." Rory looked down at the Heartstone hanging from its silver chain. It glowed with a deep, steady crimson, pulsing in time with her own heartbeat. Warmth radiated from it through her shirt. She touched it, half expecting a burn. It was only warmth. Life. "The Veil thins here," Nyx observed. They gestured with a shadow-arm. "The tear is stable. For now." Stable. Rory stared into the amber-lit world beyond. "So we just... step through." "You wanted to understand your gift," Isolde said. Her voice held the weight of years. She wasn't coming with them; this was Rory's burden. "Answers require stepping into the question." No going back. She thought of the flat above Silas's bar, her delivery bike, Eva's worried texts unanswered. Her old life, small and painful, but hers. She tightened her grip on the moonsilver dagger and stepped forward. The transition wasn't a step so much as a lurch. The ground shifted underfoot from soft English earth to something smoother, harder. The air changed quality—thicker, richer, like breathing in soup. She was in Dymas. The sky was the first shock. It wasn't sky at all, but a dome of warm, translucent amber, glowing with its own inner light. No sun, no clouds. Just that constant, honeyed glow that cast long, soft shadows. It made everything look polished, golden, like the world was dunked in aged whiskey. The ground beneath her boots was made of interlocking stones the colour of dark honeycomb. They were warm to the touch when she crouched to run a hand over them. The heat was pleasant, not scorching, like stones left in sunlight. "Don't linger." Nyx was already moving ahead, their form flickering at the edges. They seemed more solid here, more defined. "Portals are watched." Rory stood up, taking it in. They stood in what looked like a vast courtyard, enclosed by walls of the same golden stone. Archways led off in multiple directions. The architecture was grand, sweeping, all curves and arches. It reminded her of illustrations from an old storybook about palaces of the East, but twisted, softened. There were no sharp corners. And the sounds. A low hum filled the air, a busy, contented noise. Distant laughter. The clatter of pans. Snatches of music—strings and something like bells. The air itself tasted sweet, with an undercurrent of spice that caught at the back of her throat. "This way." Nyx gestured toward an arch that seemed wider than the others. It framed a view of sloping terraces cascading downward, covered in lush, impossible greenery. They moved into the archway, and the world opened up. The terraces were gardens. Vineyards stretched as far as she could see, heavy with grapes the size of plums, their skins a deep, glossy purple. Fruit trees grew in orderly rows, branches laden with fruits she couldn't name—some pulsing with soft inner light, others shaped like stars or bells. Between them, enormous flowers bloomed, petals shifting colour as she watched: from cobalt blue to violent magenta to gold. "It's... too much," she murmured. The sheer abundance was overwhelming. It felt like a painting by someone who'd never learned restraint. "Gluttony is not about need," Nyx whispered beside her. They were looking at the nearest vine, where a grape had split open on its own, dripping thick, dark juice onto the stone path. "It is about the celebration of excess. The joy of more. Even when it spoils." A figure moved between the rows ahead. Humanoid, but moving with an unnatural, liquid grace. Its skin was the colour of polished bronze, and it wore simple linen robes. It was harvesting grapes, placing them gently into a basket woven from what looked like silver strands. It didn't look up. "Helbound," Nyx said, voice low. "Souls contracted from your world. Chefs, bakers, farmers. Those who lived for creation now serve in eternal creation." The figure picked up its basket and walked away, disappearing into the foliage. Its movements were precise, practiced. There was no hurry, no frustration. Just endless, silent work. They followed the path down, the air growing warmer, sweeter. The scent of baking bread joined the symphony of smells. They passed an open kitchen built into the side of the terrace, where a dozen helbound workers moved in perfect synchrony around massive stone ovens. Flames danced blue and orange. Loaves of bread, each bigger than her torso, were pulled out with long paddles, their crusts crackling. No one spoke. "Where are we going?" Rory asked. "Toward the centre," Nyx answered. "The palace kitchens. The heart of the indulgence. If your pendant has purpose here, it will be there." The path widened into a broad avenue paved with the same honeycomb stone. Buildings rose on either side, ornate and open-fronted. A patisserie displayed cakes that sparkled with edible gemstones. A chocolatier had fountains of molten chocolate flowing in endless loops. A butcher's window hung with cured meats glistening with herbs and spices. Everywhere, there were people. Not helbound workers, but others. They moved with a languid, satisfied pace. Their clothes were rich fabrics, silks and velvets, all in shades of gold, amber, crimson. They laughed loudly, ate from golden plates held by silent attendants, drank from crystal goblets. Their faces were flushed with pleasure, eyes bright. But Rory noticed something hollow in that brightness. A desperate shine, like a fire fed too much fuel. One woman, wearing a gown of crimson silk that trailed behind her, caught Rory's eye. She was feeding herself spoonfuls of a shimmering, pink dessert. Her movements were mechanical, unwavering. Eat, swallow, repeat. Her expression was one of bliss, but her eyes were fixed on nothing, glazed over. "She has been at that gateau for three days," a voice said beside her. Rory jumped. A man stood there, slender, dressed in immaculate white linens. His eyes were the colour of dark honey, and he wore a small, polite smile. He held a silver tray bearing a single, empty crystal glass. "Three days?" "Time is... flexible here," the man said. His voice was smooth, cultured. "When one finds a perfect pleasure, why move on? The chefs strive for such moments. It is the highest compliment." He inclined his head slightly. "I am Lyrion. Steward of the Amber Terrace. You are... new." It wasn't a question. His gaze lingered on the Heartstone pendant, then flicked to the Fae blade in her hand. Neither seemed to surprise him. "I..." Rory cleared her throat. "We're just looking." "Of course," Lyrion said. His smile didn't change. "Many come to look. Few understand what they see. This is a place of gifts, not curses." He gestured with his tray toward the woman. "She wanted eternal satisfaction. She found it. Is that so terrible?" "It looks like a trap," Rory said before she could stop herself. Lyrion's smile widened, but it didn't reach his eyes. "A cage of one's own making is still a home. Come. The main feast hall is just ahead. The Prince enjoys new audiences." Nyx shifted beside her, a ripple of darkness. "We have our own path." "Do you?" Lyrion asked, still looking at Rory. "The Prince has asked for you specifically. It would be... impolite to decline." The air seemed to grow heavier. The distant laughter sounded sharper. The woman with the gateau let out a low moan of pleasure that was almost a sob. Rory's fingers closed around the cool hilt of her dagger. The pendant against her chest gave a single, hard throb of heat. Lyrion bowed, just a fraction. "This way."
created_at"2026-02-19T10:55:23.472Z" 2/19/2026, 10:55:23 AM
model"microsoft/wizardlm-2-8x22b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1217
moderation_latency(null)
generation_time194981
tokens_prompt5341
tokens_completion2233
native_tokens_prompt4952
native_tokens_completion1953
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"
usage0.0042811
router(null)
provider_responses
0
endpoint_id"92d0658f-b48a-4746-96e7-75ea71d5e060"
id"14097db2-1b45-48d8-ae27-6d7f0e66d76f"
is_byokfalse
latency1217
model_permaslug"microsoft/wizardlm-2-8x22b"
provider_name"Novita"
status200
api_type"completions"
id"gen-1771498523-xuN8Y9zRPEVhzEBBuoOP"
upstream_id"14097db2-1b45-48d8-ae27-6d7f0e66d76f"
total_cost0.0042811
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
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences36
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
93.13% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1455
totalAiIsmAdverbs2
found
0
adverb"gently"
count1
1
adverb"slightly"
count1
highlights
0"gently"
1"slightly"
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)
38.14% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1455
totalAiIsms18
found
0
word"whisper"
count1
1
word"unreadable"
count1
2
word"warmth"
count2
3
word"weight"
count1
4
word"lurch"
count1
5
word"cascading"
count1
6
word"symphony"
count1
7
word"perfect"
count2
8
word"glistening"
count1
9
word"crystal"
count2
10
word"silk"
count1
11
word"mechanical"
count1
12
word"unwavering"
count1
13
word"flicked"
count1
14
word"throb"
count1
highlights
0"whisper"
1"unreadable"
2"warmth"
3"weight"
4"lurch"
5"cascading"
6"symphony"
7"perfect"
8"glistening"
9"crystal"
10"silk"
11"mechanical"
12"unwavering"
13"flicked"
14"throb"
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
narrationSentences130
matches(empty)
98.90% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences130
filterMatches
0"hear"
1"look"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences148
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen25
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1447
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1196
uniqueNames14
maxNameDensity1.09
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Rory13
Isolde4
Fae-Forged1
Blade1
Half-Fae1
Heartstone2
Silas1
Eva1
English1
Dymas1
East1
Nyx8
Fae3
Lyrion4
persons
0"Rory"
1"Isolde"
2"Silas"
3"Eva"
4"Nyx"
5"Lyrion"
places
0"Dymas"
1"Fae"
globalScore0.957
windowScore0.667
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences86
glossingSentenceCount6
matches
0"seemed more solid here, more defined"
1"looked like a vast courtyard, enclosed by"
2"something like bells"
3"seemed wider than the others"
4"felt like a painting by someone who'd n"
5"looked like silver strands"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.691
wordCount1447
matches
0"Not helbound workers, but others"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences148
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs48
mean30.15
std18.94
cv0.628
sampleLengths
010
163
23
335
418
520
641
744
817
913
1030
1137
1231
134
1452
1541
1623
1760
1844
1927
2010
2168
2221
2348
2450
2523
2628
2767
283
296
3023
3153
3272
3348
3414
3538
362
3748
3825
398
4044
4112
4232
4313
4421
4528
4622
477
91.77% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences130
matches
0"was dunked"
1"was made"
2"were pulled"
3"were flushed"
4"were fixed"
43.51% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs213
matches
0"was standing"
1"wasn't coming"
2"were looking"
3"was harvesting"
4"was feeding"
65.64% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount1
flaggedSentences4
totalSentences148
ratio0.027
matches
0"She wasn't coming with them; this was Rory's burden."
1"The air changed quality—thicker, richer, like breathing in soup."
2"Snatches of music—strings and something like bells."
3"Fruit trees grew in orderly rows, branches laden with fruits she couldn't name—some pulsing with soft inner light, others shaped like stars or bells."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1204
adjectiveStacks1
stackExamples
0"grand, sweeping, all curves"
adverbCount32
adverbRatio0.026578073089700997
lyAdverbCount5
lyAdverbRatio0.004152823920265781
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences148
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences148
mean9.78
std5.67
cv0.58
sampleLengths
010
118
215
310
420
53
67
75
823
916
102
1116
124
139
1413
158
1611
1711
1814
197
207
214
221
236
245
256
261
277
285
298
307
319
326
333
3415
358
3611
3710
3812
399
404
416
4218
434
4410
4514
4615
4715
4811
4913
59.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.3918918918918919
totalSentences148
uniqueOpeners58
83.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences120
matches
0"Just that constant, honeyed glow"
1"Just endless, silent work."
2"Everywhere, there were people."
ratio0.025
63.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences120
matches
0"It widened without sound, peeling"
1"She hadn't meant to ask"
2"She held the Fae-Forged Blade"
3"Their voice was a whisper,"
4"It held no comfort."
5"Her lavender eyes watched the"
6"It glowed with a deep,"
7"She touched it, half expecting"
8"It was only warmth."
9"They gestured with a shadow-arm."
10"Her voice held the weight"
11"She wasn't coming with them;"
12"She thought of the flat"
13"Her old life, small and"
14"She tightened her grip on"
15"She was in Dymas."
16"It wasn't sky at all,"
17"It made everything look polished,"
18"They were warm to the"
19"They seemed more solid here,"
ratio0.392
26.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount104
totalSentences120
matches
0"The portal didn't so much"
1"One second Rory was standing"
2"The next, a vertical slit"
3"It widened without sound, peeling"
4"She hadn't meant to ask"
5"The question sounded small, ridiculous."
6"She held the Fae-Forged Blade"
7"Nyx flowed past her, their"
8"Their voice was a whisper,"
9"It held no comfort."
10"Isolde said from behind her"
11"The Half-Fae seer hadn't moved"
12"Her lavender eyes watched the"
13"Rory looked down at the"
14"It glowed with a deep,"
15"Warmth radiated from it through"
16"She touched it, half expecting"
17"It was only warmth."
18"They gestured with a shadow-arm."
19"Rory stared into the amber-lit"
ratio0.867
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences120
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount2
matches
0"Through it, heat washed over her face, carrying the scent of roasting meats, honey, and something spiced she couldn't name."
1"One woman, wearing a gown of crimson silk that trailed behind her, caught Rory's eye."
97.22% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount1
matches
0"Nyx said, voice low"
66.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags13
fancyCount3
fancyTags
0"Nyx observed (observe)"
1"she murmured (murmur)"
2"Nyx whispered (whisper)"
dialogueSentences36
tagDensity0.361
leniency0.722
rawRatio0.231
effectiveRatio0.167
79.6069%