Run: 2026-02-19-01KHTYBW4WBSKFYTTW7BDXVSXA

Run Details

Duration:
1m 25s
Cost:
$0.093180
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <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> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant pulsed twice against her collarbone before she even stepped through the tree line. Rory pressed her palm flat against it, felt the warmth bleeding through her jacket. Not the gentle hum she'd grown accustomed to over the past three weeks, the one that felt like a second heartbeat syncing with her own. This was different. Insistent. The crimson glow leaked between her fingers, painting her knuckles red. She should have turned back. She knew that now, the way you know a dream is a dream but keep walking through it anyway, pulled along by some idiot logic that dissolves the moment you wake up. But she didn't wake up. Richmond Park after dark held a quality that no amount of daytime dog-walkers and Sunday cyclists could prepare you for. The open grasslands she'd crossed from the car park had been manageable, just the wind and the distant amber glow of London's light pollution smeared across the underside of the clouds. But the moment the ancient oaks closed around her, the city vanished. Not gradually. Not the way sound fades with distance. It simply stopped existing, as though someone had pressed a thumb over a speaker. She'd brought a torch. Standard issue, the kind Yu-Fei kept behind the counter at the Golden Empress for the alley out back. Its beam cut a narrow corridor through the undergrowth, catching on ferns and fallen branches and the pale undersides of leaves that twisted in a breeze she couldn't feel on her skin. The standing stones appeared sooner than they should have. She'd walked this route twice in daylight, mapping it on her phone, timing the distances. Twelve minutes from the Isabella Plantation fence to the first stone. She'd been walking for four. Maybe five. Rory stopped. Swept the torch in a slow arc. Five stones. Weathered oak, petrified over centuries into something closer to granite. They rose from the earth at odd angles, the tallest one reaching her shoulder, the shortest barely clearing the bracken. In daylight, they'd looked almost quaint. Remnants of something forgotten. Heritage Trust material. Now they looked like teeth. She stepped between the two nearest stones, and the Heartstone flared so hot she gasped and yanked the chain away from her skin. The pendant swung free, its deep crimson glow casting a circle of light that moved independently of her torch beam. It pointed inward. Toward the grove. The clearing opened around her like a held breath. Wildflowers. In November. She'd seen them before on her scouting trips and had told herself they were late bloomers, some resilient strain she didn't know the name of. But these weren't late bloomers. Foxglove and bluebell and something white she couldn't identify grew in thick, impossible clusters across the grove floor, their petals open and turned upward as though basking in a sun that wasn't there. The air smelt of summer. Warm grass and pollen and the sweet green decay of a garden in July. Rory crouched beside a cluster of bluebells. Touched one with her fingertip. It was warm. Body temperature warm. She pulled her hand back and wiped it on her jeans. The recording equipment. That's why she'd come. Eva had insisted on proof, something more than blurry photos and Rory's increasingly frantic voice notes. The digital recorder sat in her jacket pocket, a solid rectangular weight against her hip. She pulled it out, pressed the red button, and held it at arm's length. Nothing but the ambient hum of the grove. A low, subsonic vibration that she felt more than heard, like standing too close to a transformer. She panned the recorder in a slow circle, narrating in a whisper. "Fae Grove. Twenty-three forty hours. Eleventh of November. Flowers are, same as before. Air temperature feels ten, fifteen degrees warmer than outside the stones. Pendant is active. No visible—" A branch snapped somewhere behind the tallest stone. Rory killed the torch. The grove didn't go dark. The wildflowers held their own luminescence, a faint bioluminescent shimmer that painted the clearing in shades of blue and violet. She hadn't noticed it with the torch on. Her eyes adjusted and the grove revealed itself in a new register, the flowers glowing like runway lights along a path she hadn't seen before, curving away between the oaks and into deeper woodland. The sound didn't repeat. No second snap. No rustle of an animal moving through undergrowth. Just the absence of sound that followed it, the grove holding still the way a room holds still when someone enters it. She turned the torch back on. Swept it toward the tallest stone. Something had been scratched into its surface. Fresh marks, pale against the dark wood-stone. She stepped closer. The scratches formed a pattern. Not words. Not any symbol she recognised. Just lines, dozens of them, scored into the stone at roughly hip height, parallel and evenly spaced, like tally marks. She ran her thumb across one. The groove was deep. Whatever had made it had applied serious pressure. The wildflowers behind her dimmed. Not all at once. A slow recession, like a tide pulling back. The blue glow faded from the far edge of the clearing and crept inward, a circle of dimming light that shrank toward the centre where Rory stood. She watched it happen. Watched the luminescence retreat until only the flowers within arm's reach still glowed, a small island of blue in a growing sea of black. Then the smell changed. The summer warmth curdled. Turned. The sweet pollen scent thickened into something meaty, organic, the reek of wet soil and copper and something underneath both that she couldn't name but that made her salivary glands clench the way they did before vomiting. The Heartstone pendant, which had been swinging freely, stopped moving. Not slowed. Not settled. Stopped, mid-swing, the chain pulled taut at an angle that defied gravity. It pointed toward the path between the oaks. The path the flowers had illuminated. The path that led deeper. "No," Rory said aloud. The word fell flat. Absorbed by the air before it reached the trees. Something breathed. Not behind her. Not ahead. Above. The sound came from the canopy, a long, wet inhalation that lasted four seconds, five, six, far longer than any pair of lungs should manage. It pulled at the air around her. She felt her hair lift, felt the draught against the back of her neck, felt the flowers at her feet lean toward the sound as though drawn by it. The exhalation never came. Rory's grip on the torch turned her knuckles white. She tilted the beam upward. Slowly. The light climbed the trunk of the nearest oak, caught the knots and whorls of bark, found the lowest branch. The branch held leaves. November oak leaves, brown and curled and clinging on past their season. They hung motionless. No wind. No breath disturbed them. But among them, between them, something occupied a space that the torchlight refused to fill. A gap in the beam. Not a shadow, shadows had edges, had shape. This was a hole. A place where the light went and didn't come back, roughly the size of a crouched person, nestled in the crook where the branch met the trunk. It shifted. The movement was small, a redistribution of weight, the way a cat adjusts before it springs. And with the movement came a sound. Not the breathing. Something worse. A clicking. Rhythmic. Patient. Like fingernails drumming on wood, starting slow and building toward a tempo that matched her heartbeat. Click. Click. Click-click. Click-click-click. Rory backed toward the nearest standing stone. Her heel caught on a root and she stumbled, caught herself, kept the torch aimed upward. The hole in the light had grown. Or moved. Hard to tell. The clicking had stopped. "I'm leaving." Her voice came out steadier than her hands. "I'm walking back through those stones, and I'm leaving." The last of the wildflowers went dark. Total blackness, except for her torch beam and the pendant's crimson glow. She turned, oriented herself by the stones, found the gap she'd entered through. The gap had closed. Not physically. The two stones still stood where they'd always stood, a metre apart, ferns growing at their bases. But the space between them, the threshold she'd crossed minutes ago, had become something else. The air between the stones shimmered like heat haze, and through it she glimpsed the park she'd left behind. Except wrong. The grasslands beyond were bathed in sunlight. Midday sun in a cloudless sky, and the shadows of clouds raced across the ground at impossible speed, and the grass grew and yellowed and grew and yellowed in cycles that took seconds instead of months. Time moves differently, she'd read that in the text Eva had dug up from some crumbling archive. An hour inside can be minutes or days outside. She hadn't asked which. The breathing started again. Closer. No longer above her. Beside her. Just beyond the torchlight's reach, to her left, at the exact distance where the beam dissolved into murk. She tracked the sound, and it tracked her tracking, sliding along the boundary of visible and invisible like something pacing a cage. The Heartstone wrenched sideways. The chain bit into her neck, straining toward the shimmer between the stones, and the pendant's glow flared from deep crimson to arterial red. It wanted out. Whatever intelligence lived inside that thumbnail-sized gem, it recognised what was happening and it wanted no part of it. The clicking started again. Both sides now. Left and right, out of sync, creating a staggered rhythm that her brain insisted on resolving into a pattern. Not fingernails on wood, she realised. Teeth. "Right." Rory killed the torch. Shoved it in her pocket. Grabbed the pendant in her fist and squeezed until the silver chain dug grooves into her palm. "Right." She ran. Three strides to the gap between the stones. The shimmer rushed up to meet her, hot and electric, tasting of ozone and old pennies. She felt something snag the back of her jacket, a grip that was neither fingers nor claws but something articulated, something with too many joints, and it pulled, and the fabric tore, and she threw herself forward into the light, into the wrong-sunlight between the stones, into whatever broken version of time waited on the other side. The grove spat her out onto wet grass in darkness. November darkness. London darkness. The orange smear of the city glowed on the horizon where it should. Wind hit her face. Real wind, cold and carrying rain. She rolled onto her back. Gasped. Stared up at a sky full of clouds and nothing else. The standing stones stood behind her. Quiet. Ordinary. The ferns at their bases stirred in the breeze. Rory sat up. Looked at her hands. The Heartstone had gone cold. Its glow had faded to the faintest ember, barely distinguishable from the darkness. The crescent scar on her left wrist stood out white against her flushed skin. Her jacket. She reached behind her and felt the tear. Four parallel slashes through the fabric, each one precisely spaced, running from her left shoulder blade to her right hip. She touched the skin beneath. Unbroken. Whatever had grabbed her had wanted the cloth, not the flesh. Or had missed. She pulled out her phone. The screen lit up: 23:47. Seven minutes since she'd last checked the time at the car park. Seven minutes for all of it. One notification sat on the lock screen. A text from Eva, sent at 23:44. *Don't go to the grove tonight. Found something in the archive. It's not fae.* Rory looked back at the stones. In the gap between the two she'd stumbled through, a single bluebell grew where no bluebell had been before. Its petals were open. It faced her. It was breathing.
created_at"2026-02-19T12:35:29.572Z" 2/19/2026, 12:35:29 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1360
moderation_latency141
generation_time84310
tokens_prompt4560
tokens_completion3029
native_tokens_prompt4641
native_tokens_completion2799
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"
usage0.09318
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"c3db1c5a-4fc7-49ea-9111-e3659ee4b2ae"
is_byokfalse
latency1360
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771504529-QsizZlkudGPn7erthgiL"
upstream_id"c3db1c5a-4fc7-49ea-9111-e3659ee4b2ae"
total_cost0.09318
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags3
adverbTagCount1
adverbTags
0"Rory said aloud [aloud]"
dialogueSentences6
tagDensity0.5
leniency1
rawRatio0.333
effectiveRatio0.333
94.98% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1991
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"precisely"
count1
highlights
0"slowly"
1"precisely"
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)
69.86% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1991
totalAiIsms12
found
0
word"pulsed"
count1
1
word"warmth"
count2
2
word"standard"
count1
3
word"weight"
count2
4
word"whisper"
count1
5
word"rhythmic"
count1
6
word"shimmered"
count1
7
word"raced"
count1
8
word"resolving"
count1
9
word"electric"
count1
highlights
0"pulsed"
1"warmth"
2"standard"
3"weight"
4"whisper"
5"rhythmic"
6"shimmered"
7"raced"
8"resolving"
9"electric"
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
narrationSentences216
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences216
filterMatches
0"know"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences219
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen58
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords14
totalWords1981
ratio0.007
matches
0"Don't go to the grove tonight. Found something in the archive. It's not fae."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions34
wordCount1938
uniqueNames15
maxNameDensity0.62
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Park1
Sunday1
London2
Yu-Fei1
Golden1
Empress1
Isabella1
Plantation1
Trust1
Heartstone4
November3
July1
Rory12
Eva3
Shoved1
persons
0"Yu-Fei"
1"Heartstone"
2"Rory"
3"Eva"
places
0"Park"
1"London"
2"Golden"
3"Isabella"
4"Plantation"
5"November"
6"July"
globalScore1
windowScore1
81.19% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences109
glossingSentenceCount3
matches
0"felt like a second heartbeat syncing wi"
1"appeared sooner than they should have"
2"as though basking in a sun that wasn't there"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.505
wordCount1981
matches
0"neither fingers nor"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences219
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs68
mean29.13
std24.4
cv0.838
sampleLengths
015
154
237
35
486
554
69
733
89
945
105
1149
129
1385
1418
1511
1652
1725
1812
1929
208
214
2267
2337
2412
2549
2618
275
2867
294
3042
3110
3235
3317
342
3567
364
3735
3884
392
4048
414
4239
4319
447
4525
464
4798
4826
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences216
matches
0"been scratched"
1"were bathed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs317
matches
0"was happening"
1"was breathing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences219
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1947
adjectiveStacks0
stackExamples(empty)
adverbCount64
adverbRatio0.03287108371854135
lyAdverbCount17
lyAdverbRatio0.008731381612737545
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences219
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences219
mean9.05
std8.6
cv0.951
sampleLengths
015
114
225
33
41
511
65
732
85
920
1031
1112
122
137
1414
154
1618
1732
189
1915
2011
215
222
232
247
252
2610
2720
286
294
303
315
3223
3320
343
353
369
371
382
3925
405
4133
425
4314
447
455
463
473
4811
493
54.19% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3744292237442922
totalSentences219
uniqueOpeners82
94.16% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences177
matches
0"Just the absence of sound"
1"Just lines, dozens of them,"
2"Then the smell changed."
3"No longer above her."
4"Just beyond the torchlight's reach,"
ratio0.028
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences177
matches
0"She should have turned back."
1"She knew that now, the"
2"It simply stopped existing, as"
3"She'd brought a torch."
4"Its beam cut a narrow"
5"She'd walked this route twice"
6"She'd been walking for four."
7"They rose from the earth"
8"She stepped between the two"
9"It pointed inward."
10"She'd seen them before on"
11"It was warm."
12"She pulled her hand back"
13"She pulled it out, pressed"
14"She panned the recorder in"
15"She hadn't noticed it with"
16"Her eyes adjusted and the"
17"She turned the torch back"
18"She stepped closer."
19"She ran her thumb across"
ratio0.237
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount123
totalSentences177
matches
0"The pendant pulsed twice against"
1"Rory pressed her palm flat"
2"This was different."
3"The crimson glow leaked between"
4"She should have turned back."
5"She knew that now, the"
6"Richmond Park after dark held"
7"The open grasslands she'd crossed"
8"It simply stopped existing, as"
9"She'd brought a torch."
10"Its beam cut a narrow"
11"The standing stones appeared sooner"
12"She'd walked this route twice"
13"She'd been walking for four."
14"They rose from the earth"
15"Remnants of something forgotten."
16"Heritage Trust material."
17"She stepped between the two"
18"The pendant swung free, its"
19"It pointed inward."
ratio0.695
28.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences177
matches
0"Now they looked like teeth."
ratio0.006
27.31% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences68
technicalSentenceCount11
matches
0"Its beam cut a narrow corridor through the undergrowth, catching on ferns and fallen branches and the pale undersides of leaves that twisted in a breeze she cou…"
1"She'd walked this route twice in daylight, mapping it on her phone, timing the distances."
2"The pendant swung free, its deep crimson glow casting a circle of light that moved independently of her torch beam."
3"Foxglove and bluebell and something white she couldn't identify grew in thick, impossible clusters across the grove floor, their petals open and turned upward a…"
4"The wildflowers held their own luminescence, a faint bioluminescent shimmer that painted the clearing in shades of blue and violet."
5"The sound came from the canopy, a long, wet inhalation that lasted four seconds, five, six, far longer than any pair of lungs should manage."
6"She felt her hair lift, felt the draught against the back of her neck, felt the flowers at her feet lean toward the sound as though drawn by it."
7"Like fingernails drumming on wood, starting slow and building toward a tempo that matched her heartbeat."
8"Midday sun in a cloudless sky, and the shadows of clouds raced across the ground at impossible speed, and the grass grew and yellowed and grew and yellowed in c…"
9"She tracked the sound, and it tracked her tracking, sliding along the boundary of visible and invisible like something pacing a cage."
10"She felt something snag the back of her jacket, a grip that was neither fingers nor claws but something articulated, something with too many joints, and it pull…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences6
tagDensity0.167
leniency0.333
rawRatio0
effectiveRatio0
88.3314%