Run: 2026-02-19-01KHTXX28ATNGDR7KPY6B5RK08

Run Details

Duration:
1m 16s
Cost:
$0.013905
Provider:
Z.AI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</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> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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
"Double Talisker. Keep the bottle." The voice scraped against the ambient hum of The Raven's Nest, familiar yet distorted, like a radio signal tuned just a fraction off the frequency. I froze halfway through pulling a pint for the tourist in the sequinned top. The glass began to overflow, amber foam spilling over my knuckles, cold and sticky. I ignored the mess and the tourist's huff of indignation. I knew that voice. I knew the sharp, precise diction, the way the vowels flattened slightly on the vowels. I turned slowly. Eva. The name hit me like a physical blow, forcing the air from my lungs, but the woman standing there held only a ghostly resemblance to the girl who had shoved a packed suitcase into my hands three years ago and told me to run. The Eva I remembered was a whirlwind of second-hand wool, smelling of patchouli and rebellion. She had hair the colour of autumn leaves that changed with the seasons, and eyes that held a manic, desperate hope for the world. This woman wore a charcoal trench coat that cost more than my flat. Her hair was sheared into a severe, sleek black bob. She stood with her spine rigid, one hand resting on the brass rail of the bar, manicured nails tapping a rhythm that wasn't a song, but a countdown. "Rory." She didn't smile. The warmth that used to radiate from her had been excised, leaving behind something polished and cold. "Eva." I wiped the foam from my hand onto a rag, my heart hammering a frantic rhythm against my ribs. "It's been a while." "Three years, two months, and eleven days." "Who's counting?" "Accountants." Her gaze swept over the dimly lit room, taking in the peeling wallpaper, the maps stuck to the ceiling, the general air of benign decay. It was a predator's assessment. She wasn't looking for comfort; she was looking for exits. "This is where you ended up," she said. It wasn't a question. "A delivery girl living above a pub in Soho. I thought you'd be... somewhere else." "I thought I'd be dead." I moved the bottle of Talisker across the polished mahogany. "This one's on the house. For old times." She caught the neck of the bottle, her thumb brushing over the label. "I don't drink on the job anymore." The words hung there, heavy and final. The Eva I knew wouldn't have recognised the concept of a 'job', not in the way she meant it. She used to scrounge for change to buy us instant noodles and cheap wine, railing against the capitalist machine while smoking roll-ups on the fire escape of our Cardiff flat. "Since when?" "Since I realised chaos doesn't pay the bills." She signalled Silas, who had been watching us from the end of the bar, polishing a glass with methodic, deliberate slowness. He didn't move immediately. His hazel eyes flicked from Eva to me, assessing the threat level, his face an inscrutable mask. "Water," Eva said to him. "Sparkling. Lemon." Silas set the glass down without a word. The ice cubes clinked, a sharp, brittle sound. "You've changed," I said, leaning against the beer taps. The crescent scar on my left wrist throbbed, a phantom memory of the night I left. The night Eva forced me out the door while Evan screamed my name from the street. She had stood in the doorway, a wild thing, protecting me. Now she looked like she belonged in a boardroom, signing off on layoffs. "We all do, Laila." She used my middle name. The one Evan used to hiss. I flinched, but held her stare. "Not like this. You look like them." "Them?" "The suits. The machine. The people we used to hate." "Hate is a luxury of the young, Rory. I grew up." She took a sip of the water, her eyes never leaving mine. "And I learned that survival requires... adaptation." "Is that what this is?" I gestured at the coat, the sharp hair, the hard line of her jaw. "Survival?" "It's pragmatism." She placed a heavy manilla envelope on the counter between us. "I need you to hold this." "Excuse me?" "Don't ask questions. Just take it." "I'm not a courier, Eva. I deliver noodles for Yu-Fei." "No. You deliver. You have routes all over the city. You know the back alleys. You know who to talk to and who to avoid." She pushed the envelope closer. It was thick. Heavy. "This needs to disappear for forty-eight hours." "And then what?" "Then I come back for it." Silas drifted closer, the limp in his left leg barely noticeable as he moved with a fluid, predatory grace. He placed a hand on the bar, inches from the envelope. His silver signet ring caught the dim light. "We don't take packages from strangers," Silas said, his voice low and roughened by smoke and age. "Even old friends." Eva didn't look at him. She kept her eyes fixed on me, searching for the girl she used to know. "I'm not a stranger, Si. And I'm not asking. I'm telling." "Then tell us why," I said. "Tell me why you look like you haven't slept in a week. Tell me why you're terrified." "I'm not terrified." "Your hand is shaking." She pulled her hand back from the envelope, curling it into a fist. "It's caffeine. I've been awake for thirty hours." "Bullshit." "Rory, please." The mask slipped. Just for a second. The polished, corporate veneer cracked, and I saw the exhaustion underneath. The fear. "I shouldn't have come here. I shouldn't have involved you. But I didn't know where else to go." "You involved me the moment you walked through that door," I said. "What's in the envelope, Eva?" " leverage." "Leverage for who?" " people who make Evan look like a playground bully." The mention of his name sent a jolt of ice through my veins. Evan. The reason I was in London. The reason I had a scar on my wrist and nightmares that wouldn't stop. "Evan?" I whispered. "Is small fry," she finished. "He works for them now. He found me, Rory. He knows where I live. He knows what I took." Silas moved. Fast. He reached out and flipped the envelope open. I caught a glimpse of documents, dense with text and diagrams. He didn't read them; he just looked at the stamp on the top page. "Department of Defence," Silas muttered, his face darkening. "You stole from the MoD?" "I didn't steal it. I copied it." Eva turned to him, her voice rising. "They're planning something. A black site operation. Here. In the city. If they find out I have this..." "They won't kill you," Silas said, his voice terrifyingly calm. "They'll make you wish they had." "Exactly." She looked back at me, pleading. "Please. Just hide it. Two days. I'm meeting a contact from the Guardian on Tuesday. I hand it over, and it's done. I vanish again." "And what happens to me?" I asked. "If Evan is working for them, he knows I'm your friend." "He knows you ran away. He thinks you're weak. He thinks you're hiding." "He's right." "No." Eva reached across the bar, grabbing my wrist. Her grip was tight, desperate. "You're the strongest person I know. That's why I sent you away that night. Because I knew you wouldn't survive him. Not then. But now?" "I'm still the same girl, Eva. Just a little more tired." "No." She shook her head. "You're still standing. That counts for something." The bell above the door chimed. The sound was cheerful, bright, and completely at odds with the heavy atmosphere in the bar. The three of us froze. Silas moved first. He stepped sideways, positioning himself between the door and us, his hand disappearing beneath the bar. I knew what he was reaching for. He kept a sawn-off shotgun taped under the register. Old habits die hard. I looked at the door. Two men stood there. They wore dark suits, incongruous in the dive bar atmosphere. They didn't look at the menu on the wall. They didn't look at the empty tables. They looked directly at the bar. At Eva. One of them pulled a phone from his pocket. He said something into it, too quiet to hear over the sudden rushing in my ears. Eva let go of my wrist. She turned slowly, her back straightening, the corporate mask sliding back into place. She reached for the envelope on the bar, but Silas's hand slammed down on top of it. "You brought the wolves to my doorstep," Silas growled. "I'm sorry," Eva whispered. "Sorry doesn't pay for the windows," Silas said, his eyes locked on the men. The man with the phone ended the call. He smiled. It was a thin, ugly thing. He reached into his jacket. "Time's up, Ms. Vance," he said. My breath hitched. Vance. Not her old surname. She had changed everything. "Rory," Eva said, her voice tight. "Run." I didn't move. I looked at the men, then at Silas, then at the envelope. I looked at the woman who had saved my life once, expecting me to run away while she played the hero again. I grabbed the envelope. "Silas," I yelled. Silas moved. He vaulted the bar with an agility that belied his age and his bad knee, landing in a crouch between us and the intruders. He raised the shotgun, the pump-action racking loud and definitive in the silence. "Get the girl," Silas barked, not looking back at me. I grabbed Eva's arm. "Come on." "No," she tried to pull away. "I can't leave you—" "You made your choice when you walked in here." I hauled her toward the back of the room, toward the bookshelf that hid the stairs to the upper flat. "Now live with it." The first shot blew the mirror behind the bar into a thousand silver shards. The sound deafened me, ringing in my ears like a church bell. Glass rained down like diamond dust. "Go!" Silas roared. I shoved Eva through the gap in the bookshelf and slammed it shut behind us, throwing the deadbolt just as the wood splintered near the handle. We were in the dark, narrow hallway. The stairs were up. "They're inside," Eva gasped, her back against the wall. "Silas is—" "Silas can handle himself," I said, though I didn't believe it. I shoved the envelope into my waistband, pulling my shirt down to cover it. "We have to move. Now." We ran up the stairs, the thud of boots and the crash of furniture echoing up from the bar below. The sound of violence. The sound of my old life catching up. We burst onto the rooftop. The London air was biting, sharp with the smell of rain and exhaust fumes. I ran to the edge, looking down at the alleyway below. It was a three-storey drop. "We can't jump," Eva said, panting. "We'll break our legs." "Better than a bullet to the head." I looked at the fire escape on the next building over. Too far to jump. "There's no way out," she said, her voice cracking. I turned back to the roof door. It was locked, but I could hear the footsteps pounding up the stairs. Heavy. Determined. "There's always a way out," I said, scanning the darkening skyline. "You just have to be willing to pay the price." The door handle rattled. Then came the impact of a shoulder against the wood. I looked at Eva. The corporate mask was gone. She looked just like she did the night I left. Scared. Young. "Remember what I told you?" she asked, tears standing in her eyes. "The night you left? I told you to keep running." "I remember." "Then run." She shoved me. Hard. I stumbled back, tripping over a loose roof tile. I fell toward the low parapet, scrabbling for purchase. I caught the ledge, my feet dangling over the drop. Above me, the roof door gave way with a splintering crack. Two figures stepped out into the night. They weren't looking at me. They were looking at Eva. She stood between them and the edge of the roof. She straightened her coat. She smoothed her hair. She faced them alone. "Here I am," she said, her voice carrying clearly in the night air. "Let's make a deal."
created_at"2026-02-19T12:27:24.308Z" 2/19/2026, 12:27:24 PM
model"z-ai/glm-4.7-20251222"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1489
moderation_latency(null)
generation_time75828
tokens_prompt4618
tokens_completion6357
native_tokens_prompt4200
native_tokens_completion6110
native_tokens_completion_images(null)
native_tokens_reasoning3337
native_tokens_cached4198
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"
usage0.01390498
router(null)
provider_responses
0
endpoint_id"be4acbf5-9fcf-4332-a01d-76dfeb6d7b99"
id"2026021920272472e1dc8523124d20"
is_byokfalse
latency1488
model_permaslug"z-ai/glm-4.7-20251222"
provider_name"Z.AI"
status200
api_type"completions"
id"gen-1771504044-fEoxHaa7KvEQK5h5YsZf"
upstream_id"2026021920272472e1dc8523124d20"
total_cost0.01390498
cache_discount0.00205702
upstream_inference_cost0
provider_name"Z.AI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags42
adverbTagCount0
adverbTags(empty)
dialogueSentences100
tagDensity0.42
leniency0.84
rawRatio0
effectiveRatio0
90.36% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2074
totalAiIsmAdverbs4
found
0
adverb"slightly"
count1
1
adverb"slowly"
count2
2
adverb"completely"
count1
highlights
0"slightly"
1"slowly"
2"completely"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
73.48% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2074
totalAiIsms11
found
0
word"familiar"
count1
1
word"warmth"
count1
2
word"predator"
count1
3
word"flicked"
count1
4
word"throbbed"
count1
5
word"silence"
count1
6
word"echoing"
count1
7
word"footsteps"
count1
8
word"pounding"
count1
9
word"determined"
count1
10
word"scanning"
count1
highlights
0"familiar"
1"warmth"
2"predator"
3"flicked"
4"throbbed"
5"silence"
6"echoing"
7"footsteps"
8"pounding"
9"determined"
10"scanning"
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
narrationSentences172
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences172
filterMatches(empty)
hedgeMatches
0"began to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences231
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2069
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions28
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1478
uniqueNames8
maxNameDensity1.29
worstName"Eva"
maxWindowNameDensity3
worstWindowName"Silas"
discoveredNames
Raven1
Nest1
Eva19
Talisker1
Cardiff1
Silas15
Evan3
London2
persons
0"Raven"
1"Eva"
2"Silas"
3"Evan"
places
0"Cardiff"
1"London"
globalScore0.857
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences100
glossingSentenceCount1
matches
0"looked like she belonged in a boardroom,"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2069
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences231
matches
0"knew that voice"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs110
mean18.81
std14.79
cv0.786
sampleLengths
05
153
229
33
41
544
639
751
81
920
1024
117
122
131
1440
1527
1623
1720
1856
192
2050
217
2216
2365
244
2517
267
271
2810
2930
3020
3119
322
336
3410
3541
363
376
3838
3920
4031
4123
423
434
4421
451
4640
4717
482
493
99.14% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences172
matches
0"was sheared"
1"been excised"
2"was gone"
46.74% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs261
matches
0"was looking"
1"was reaching"
2"was biting"
3"weren't looking"
4"were looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount2
flaggedSentences2
totalSentences231
ratio0.009
matches
0"She wasn't looking for comfort; she was looking for exits."
1"He didn't read them; he just looked at the stamp on the top page."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount706
adjectiveStacks1
stackExamples
0"severe, sleek black bob."
adverbCount19
adverbRatio0.026912181303116147
lyAdverbCount5
lyAdverbRatio0.007082152974504249
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences231
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences231
mean8.96
std6.89
cv0.77
sampleLengths
05
125
214
314
410
54
615
73
81
944
1015
1124
1213
1310
1428
151
163
1717
1820
194
207
212
221
2325
245
2510
268
274
2815
2915
308
3113
327
337
3419
3530
362
3729
384
3917
405
412
428
438
449
4516
4616
4711
4813
494
36.80% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats35
diversityRatio0.3116883116883117
totalSentences231
uniqueOpeners72
68.49% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences146
matches
0"Just for a second."
1"Too far to jump."
2"Then came the impact of"
ratio0.021
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount90
totalSentences146
matches
0"I froze halfway through pulling"
1"I ignored the mess and"
2"I knew that voice."
3"I knew the sharp, precise"
4"I turned slowly."
5"She had hair the colour"
6"Her hair was sheared into"
7"She stood with her spine"
8"She didn't smile."
9"I wiped the foam from"
10"Her gaze swept over the"
11"It was a predator's assessment."
12"She wasn't looking for comfort;"
13"It wasn't a question."
14"I moved the bottle of"
15"She caught the neck of"
16"She used to scrounge for"
17"She signalled Silas, who had"
18"He didn't move immediately."
19"His hazel eyes flicked from"
ratio0.616
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount136
totalSentences146
matches
0"The voice scraped against the"
1"I froze halfway through pulling"
2"The glass began to overflow,"
3"I ignored the mess and"
4"I knew that voice."
5"I knew the sharp, precise"
6"I turned slowly."
7"The name hit me like"
8"The Eva I remembered was"
9"She had hair the colour"
10"This woman wore a charcoal"
11"Her hair was sheared into"
12"She stood with her spine"
13"She didn't smile."
14"The warmth that used to"
15"I wiped the foam from"
16"Her gaze swept over the"
17"It was a predator's assessment."
18"She wasn't looking for comfort;"
19"It wasn't a question."
ratio0.932
34.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences146
matches
0"Now she looked like she"
ratio0.007
63.49% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount6
matches
0"The name hit me like a physical blow, forcing the air from my lungs, but the woman standing there held only a ghostly resemblance to the girl who had shoved a p…"
1"She stood with her spine rigid, one hand resting on the brass rail of the bar, manicured nails tapping a rhythm that wasn't a song, but a countdown."
2"The warmth that used to radiate from her had been excised, leaving behind something polished and cold."
3"The reason I had a scar on my wrist and nightmares that wouldn't stop."
4"He stepped sideways, positioning himself between the door and us, his hand disappearing beneath the bar."
5"She turned slowly, her back straightening, the corporate mask sliding back into place."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags42
uselessAdditionCount11
matches
0"I wiped, my heart hammering a frantic rhythm against my ribs"
1"Silas said, his voice low and roughened by smoke and age"
2"Silas muttered, his face darkening"
3"Eva turned, her voice rising"
4"Silas said, his voice terrifyingly calm"
5"Eva said, her voice tight"
6"Silas barked, not looking back at me"
7"Eva gasped, her back against the wall"
8"she said, her voice cracking"
9"she asked, tears standing in her eyes"
10"she said, her voice carrying clearly in the night air"
70.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags25
fancyCount8
fancyTags
0"I whispered (whisper)"
1"Silas muttered (mutter)"
2"Silas growled (growl)"
3"Eva whispered (whisper)"
4"I yelled (yell)"
5"Silas barked (bark)"
6"Silas roared (roar)"
7"Eva gasped (gasp)"
dialogueSentences100
tagDensity0.25
leniency0.5
rawRatio0.32
effectiveRatio0.16
78.1140%