Run: 2026-02-19-01KHTY54T1T3DDYZ6Z7J9FSNZ2

Run Details

Duration:
1m 24s
Cost:
$0.097060
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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
Three deadbolts. Rory had counted them the first time Eva showed her the flat, laughed about the paranoia of it. Now she threw each one open without thinking, her mind still half-caught in the delivery route she'd been mentally mapping for tomorrow's shift, and pulled the door wide. Lucien Moreau stood on the landing, one hand resting on the ivory head of his cane, the other holding a bottle of wine by the neck like a man who'd strangled better things. "Non." She started to push the door shut. His foot, sheathed in a polished Oxford, slid into the gap. Not aggressive. Just there, the way he always was. Occupying space as though the universe had reserved it for him. "Five minutes." "You had five minutes in Brixton. You used them poorly." "I used them honestly. You're confusing the two." The smell of cumin and garlic floated up from the curry house below, thick and warm, mixing with whatever cologne he wore, something sharp and clean that cut through it like a blade through silk. Rory held the door at a precise angle, enough to see both his eyes, the amber and the black, catching the hallway's sick fluorescent light. She hated that she'd memorised which was which. "Eva's not here." "I know." He tilted his head. "I came for you." Something hot and unwelcome bloomed behind her sternum. She killed it. "Whatever you're brokering, I'm not buying." "It's a Côtes du Rhône, not a contract." She looked at the bottle. Looked at his face. The angles of his jaw held that particular tension she'd learned to read in the weeks they'd spent circling each other, drawn together by Eva's research and the ugly things that research had unearthed. Back then, he'd been a contact. A means to information. Then he'd been something harder to name, something that smelled like smoke in her hair after late nights poring over scrolls in this same flat, his shoulder against hers, his mismatched eyes scanning text she couldn't decipher. Then Brixton happened. "The cat hates you," she said. "The cat hates everyone. He tolerates me. There's a distinction." Ptolemy chose that moment to wind between her ankles, his tabby body a warm accusation. Traitor. The cat looked up at Lucien and blinked once, slow, and Rory could have sworn the Frenchman's mouth twitched. She stepped back from the door. Not an invitation. A retreat, and they both knew it. Lucien entered the flat the way he entered every room, cataloguing it. His gaze swept the towers of books on the kitchen counter, the scrolls pinned open with mugs and a broken stapler, Eva's mad constellation of research notes tacked to every available wall. He set the wine on the only clear surface, a square foot of counter near the sink, and leaned his cane against the fridge. "You've been sleeping on the sofa." He said it without looking at her, his attention on the rumpled blanket, the pillow still dented. "Eva's bed. Eva's room. I'm a guest." "You've been here four months." "Guests can be persistent." She crossed her arms. "What do you want, Lucien?" He turned, and the full weight of his attention settled on her. Both eyes, mismatched, unblinking. She'd seen demons, real ones, lesser things that crawled out of summoning circles and stank of sulphur, and none of them had ever pinned her the way this man did when he decided to stop performing. "You changed your number." "I changed a lot of things." "Your hair's shorter." "Observant. Is that why you came? To audit my appearance?" He pulled out a chair from Eva's tiny dining table, the one buried under a geological layer of photocopied manuscripts, and sat without asking. His fingers laced together, elbows on knees, and the posture stripped something from him. The armour of his tailored charcoal suit suddenly looked like fabric instead of fortification. "Brixton," he said. "We're not doing this." "We are. Sit." "Don't." "Please." The word landed strange in his mouth, accented and angular, like he'd borrowed it from a language he didn't speak natively. She'd heard Lucien negotiate, threaten, charm, and once, memorably, talk a boggart out of a sewer grate in fluent Gaelic. She'd never heard him say please. She sat on the arm of the sofa. Close enough to hear him, far enough to bolt. "I should have told you what I was." "You mean the half-demon thing? Yes, that would've been a nice opener. Somewhere between 'lovely to meet you' and 'shall we order starters.'" "You already knew about demons. Eva's work, the underworld, none of it shocked you. But I watched your face when you saw, when I, " He stopped. His jaw worked. "I could have prepared you." "You could have. You didn't." Silence pooled between them. Ptolemy jumped onto the table, scattering a sheaf of notes, and settled on a stack of leather-bound journals. His purr filled the quiet like static. Rory remembered Brixton in fragments. The warehouse, the summoning gone wrong, something with too many teeth climbing out of a crack in reality. And Lucien stepping in front of her, his cane drawn, the blade singing free of its sheath, and his face, God, his face. The bones had shifted. The amber eye had burned like a coal in a furnace while the black one swallowed light. She'd seen the thing beneath the tailored suit, the heritage he'd carried from Avaros like shrapnel under skin, and the sound she'd made, a small broken breath, had cut them both. He'd killed the thing. Cleaned the blade on his trouser leg. Looked at her with a face that was his again, and she'd stepped back. One step. That was all. But he'd read the whole novel in it. "I wasn't afraid of you." Her voice came out rougher than she wanted. "You flinched." "I was processing." "You left." "I left the warehouse. I didn't leave the country." "You changed your number," he repeated, quieter now. The accusation in it needled her because it was fair. She'd changed her number, changed her delivery routes to avoid the streets where she might run into his network, told Eva she didn't want updates. She'd built three deadbolts of her own, invisible ones, and here he sat in the middle of her borrowed life, dismantling them with a bottle of wine and a word she'd never heard him use. She rubbed the crescent scar on her left wrist. Old habit. Comfort and warning tangled together. "The last man I ran from," she said, measuring each word, "I ran because he made me smaller. Every day, a little less of me. You know about Evan." "I know." "What I didn't tell you, what I didn't tell anyone except Eva, is that the worst part wasn't the bruises. It was that I stayed. I stayed and I made excuses and I shrank myself to fit inside his version of who I was." Lucien's fingers tightened against each other. A muscle jumped in his cheek. "And then there's you," she continued. "Who are the opposite of small. Who fill rooms and broker secrets and carry a demon father's blood like it's a bespoke accessory. And I don't shrink around you, Lucien. That's the problem. I expand. I take up more space. And it terrifies me because I don't know where it stops." He stood. Slowly, the way you move near something wounded, and closed the distance between them. His hand came up and hovered near her jaw, not touching. Asking. She didn't step back. Didn't flinch. His thumb traced the line of her cheekbone. His skin ran warmer than it should have, a furnace banked low, and the heat soaked into her like sunlight through glass. This close, she could see the faint tracery of something beneath the skin of his temple, veins that glowed faintly amber when his control slipped. He wasn't slipping now. He was holding himself in check with a precision that must have cost him dearly, because the black eye had gone deep and liquid and the amber one flickered like a candle flame in a draught. "I don't want you smaller," he said. "I want you unbearable." A laugh escaped her, short and startled and real. "Unbearable." "Monstrous. Inconvenient. Taking up every room I walk into so I can't think straight." "You're describing a problem." "I'm describing a woman who terrified a half-demon in a Brixton warehouse. Not with a blade. With a breath." Her hand found his wrist. She could feel the pulse there, fast, faster than he'd ever let his voice betray. Lucien Moreau, fixer, broker, master of four languages and a blade hidden inside civility, and his heart hammered against her fingertips like something caged. "Five months," she said. "You waited five months." "You needed the distance." "And if I didn't?" His expression cracked. Hairline fracture, there and gone, but she saw the whole fault line beneath it, the months of silence, the number he must have called before she changed it, the information network that could find anyone in London and the restraint it took not to use it until now. "Then I wasted time we didn't have." His voice dropped. "And I'm sorry." Ptolemy yawned. A siren wailed somewhere down Brick Lane, dopplering past, and the curry house below sent up a fresh wave of spice through the floorboards. Rory pulled his wrist down, closing the gap between his hand and her skin, and pressed her cheek into his palm. His fingers curled into her hair, shorter now, and the warmth of him spread across her scalp like fever. "Don't lie to me again," she said against his palm. "Not by omission. Not by silence. If you're something, I want to see it." "All of it." "All of it." His other hand found the small of her back and drew her upright, off the sofa arm, and for a moment they stood in the cramped flat with its three deadbolts and its chaos of arcane scholarship and its indifferent cat, breathing the same cumin-scented air. "The wine," he murmured. "It's a good vintage." "I don't care about the wine." She kissed him. Or he kissed her. The distinction collapsed somewhere between intention and impact, his mouth warm and tasting of nothing but himself, no pretence, and her hand fisted the lapel of his charcoal jacket and pulled. She felt the shift under his skin, a tremor, heat spiking where her fingers gripped, and she didn't flinch, didn't step back, pressed closer. His cane slid off the fridge and clattered to the floor. Neither of them picked it up. Then the phone rang, the landline Eva kept because she didn't trust mobiles, its shrill mechanical bell shattering the air like a fire alarm. Rory pulled back an inch. Lucien's hand stayed in her hair. "Leave it." The answering machine clicked. Eva's recorded voice, bright and rapid, told the caller to leave a message. A beat of static. Then a voice Rory had never heard before, low and guttural and speaking in a language that made the lightbulb above them flicker and Ptolemy's fur stand on end. Lucien's face changed. Not the shift from Brixton, not the demon blood rising, but something colder. Recognition. Fear. "That's Avaric," he said. "Old dialect. Royal court." "What's it saying?" His hand dropped from her hair. He crossed to the answering machine in three strides, his limp sharper without the cane, and listened. The message ran for ten more seconds, then cut to dead air. The lightbulb steadied. Ptolemy bolted under the sofa. Lucien rewound the tape and played it again, his lips moving silently, translating. His face, when he turned back to her, had gone the colour of ash. "It's for me," he said. "My father's dead. And something followed him out."
created_at"2026-02-19T12:31:49.067Z" 2/19/2026, 12:31:49 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1607
moderation_latency105
generation_time83663
tokens_prompt4556
tokens_completion2988
native_tokens_prompt4657
native_tokens_completion2951
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"
usage0.09706
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"82a27250-5e18-4bf2-a1ea-6d9435a66cb0"
is_byokfalse
latency1607
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771504309-iOzWeSvLcD7MjCqdYCnV"
upstream_id"82a27250-5e18-4bf2-a1ea-6d9435a66cb0"
total_cost0.09706
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags17
adverbTagCount0
adverbTags(empty)
dialogueSentences66
tagDensity0.258
leniency0.515
rawRatio0
effectiveRatio0
94.94% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1977
totalAiIsmAdverbs2
found
0
adverb"suddenly"
count1
1
adverb"slowly"
count1
highlights
0"suddenly"
1"slowly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
62.06% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1977
totalAiIsms15
found
0
word"silk"
count1
1
word"tension"
count1
2
word"scanning"
count1
3
word"weight"
count1
4
word"charm"
count1
5
word"silence"
count3
6
word"traced"
count1
7
word"flickered"
count1
8
word"could feel"
count1
9
word"pulse"
count1
10
word"warmth"
count1
11
word"mechanical"
count1
12
word"flicker"
count1
highlights
0"silk"
1"tension"
2"scanning"
3"weight"
4"charm"
5"silence"
6"traced"
7"flickered"
8"could feel"
9"pulse"
10"warmth"
11"mechanical"
12"flicker"
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
narrationSentences128
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences128
filterMatches(empty)
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences177
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen51
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1973
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions26
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1509
uniqueNames14
maxNameDensity0.66
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Eva7
Moreau2
Oxford1
Brixton3
Ptolemy5
Lucien10
Rory7
Frenchman1
Gaelic1
God1
Avaros1
London1
Brick1
Lane1
persons
0"Eva"
1"Moreau"
2"Ptolemy"
3"Lucien"
4"Rory"
5"Frenchman"
places
0"Oxford"
1"Avaros"
2"London"
3"Brick"
4"Lane"
globalScore1
windowScore1
84.21% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount2
matches
0"smelled like smoke in her hair after late"
1"looked like fabric instead of fortificati"
98.63% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.014
wordCount1973
matches
0"Not the shift from Brixton, not the demon blood rising, but something colder"
1"not the demon blood rising, but something colder"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences177
matches
0"clean that cut"
1"hated that she'd"
2"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs93
mean21.22
std22.44
cv1.058
sampleLengths
048
133
28
331
42
510
68
768
83
910
1011
116
128
1390
143
156
1610
1735
1816
1968
206
2117
227
235
2413
2552
264
276
283
2910
3052
313
324
333
341
351
3647
3717
388
3923
4035
415
4229
4398
4425
4513
4613
472
483
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences128
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs263
matches
0"wasn't slipping"
1"was holding"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences177
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1512
adjectiveStacks1
stackExamples
0"same cumin-scented air."
adverbCount44
adverbRatio0.0291005291005291
lyAdverbCount10
lyAdverbRatio0.006613756613756613
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences177
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences177
mean11.15
std10.54
cv0.945
sampleLengths
02
118
228
333
48
511
62
77
811
92
1010
118
1235
1325
148
153
166
174
188
193
206
218
225
234
2434
256
264
2737
283
296
3010
3115
321
3319
346
353
367
3712
3832
3924
406
4117
427
435
448
455
4612
474
4836
494
46.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.3333333333333333
totalSentences177
uniqueOpeners59
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences108
matches
0"Just there, the way he"
1"Then he'd been something harder"
2"Then Brixton happened."
3"Slowly, the way you move"
4"Then the phone rang, the"
5"Then a voice Rory had"
ratio0.056
45.93% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences108
matches
0"She started to push the"
1"His foot, sheathed in a"
2"She hated that she'd memorised"
3"He tilted his head"
4"She killed it."
5"She looked at the bottle."
6"She stepped back from the"
7"His gaze swept the towers"
8"He set the wine on"
9"He said it without looking"
10"She crossed her arms"
11"He turned, and the full"
12"She'd seen demons, real ones,"
13"He pulled out a chair"
14"His fingers laced together, elbows"
15"She'd heard Lucien negotiate, threaten,"
16"She'd never heard him say"
17"She sat on the arm"
18"His jaw worked."
19"His purr filled the quiet"
ratio0.435
47.96% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount89
totalSentences108
matches
0"Rory had counted them the"
1"Lucien Moreau stood on the"
2"She started to push the"
3"His foot, sheathed in a"
4"The smell of cumin and"
5"Rory held the door at"
6"She hated that she'd memorised"
7"He tilted his head"
8"Something hot and unwelcome bloomed"
9"She killed it."
10"She looked at the bottle."
11"The angles of his jaw"
12"A means to information."
13"Ptolemy chose that moment to"
14"The cat looked up at"
15"She stepped back from the"
16"A retreat, and they both"
17"Lucien entered the flat the"
18"His gaze swept the towers"
19"He set the wine on"
ratio0.824
46.30% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences108
matches
0"Now she threw each one"
ratio0.009
23.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount9
matches
0"Lucien Moreau stood on the landing, one hand resting on the ivory head of his cane, the other holding a bottle of wine by the neck like a man who'd strangled be…"
1"The angles of his jaw held that particular tension she'd learned to read in the weeks they'd spent circling each other, drawn together by Eva's research and the…"
2"Then he'd been something harder to name, something that smelled like smoke in her hair after late nights poring over scrolls in this same flat, his shoulder aga…"
3"She'd seen demons, real ones, lesser things that crawled out of summoning circles and stank of sulphur, and none of them had ever pinned her the way this man di…"
4"This close, she could see the faint tracery of something beneath the skin of his temple, veins that glowed faintly amber when his control slipped."
5"He was holding himself in check with a precision that must have cost him dearly, because the black eye had gone deep and liquid and the amber one flickered like…"
6"Hairline fracture, there and gone, but she saw the whole fault line beneath it, the months of silence, the number he must have called before she changed it, the…"
7"Then a voice Rory had never heard before, low and guttural and speaking in a language that made the lightbulb above them flicker and Ptolemy's fur stand on end."
8"Lucien rewound the tape and played it again, his lips moving silently, translating."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount3
fancyTags
0"he repeated (repeat)"
1"she continued (continue)"
2"he murmured (murmur)"
dialogueSentences66
tagDensity0.167
leniency0.333
rawRatio0.273
effectiveRatio0.091
88.1453%