NC Bench
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Run: 2026-02-19-01KHTYKE0DNNJP9PWPQXY1F313
Run Details
Model:
Qwen 3.5 397B A17B
Test:
Bad Writing Habits
Scenario:
Literary fiction: old friends reunite
Duration:
7m 58s
Cost:
$0.009052
Provider:
AtlasCloud
Evaluation summary
Score
Evaluator
Details Link
100.00%
Adverbs in dialogue tags
(details)
95.42%
AI-ism adverb frequency
(details)
100.00%
AI-ism character names
(details)
100.00%
AI-ism location names
(details)
80.16%
AI-ism word frequency
(details)
100.00%
Cliché density
(details)
100.00%
Emotion telling (show vs. tell)
(details)
100.00%
Filter word density
(details)
100.00%
Gibberish response detection
(details)
100.00%
Markdown formatting overuse
(details)
100.00%
Missing dialogue indicators (quotation marks)
(details)
0.00%
Name drop frequency
(details)
100.00%
Narrator intent-glossing
(details)
100.00%
"Not X but Y" pattern overuse
(details)
100.00%
Overuse of "that" (subordinate clause padding)
(details)
100.00%
Paragraph length variance
(details)
100.00%
Passive voice overuse
(details)
100.00%
Past progressive (was/were + -ing) overuse
(details)
100.00%
Em-dash & semicolon overuse
(details)
100.00%
Purple prose (modifier overload)
(details)
100.00%
Repeated phrase echo
(details)
100.00%
Sentence length variance
(details)
41.11%
Sentence opener variety
(details)
73.26%
Adverb-first sentence starts
(details)
62.39%
Pronoun-first sentence starts
(details)
33.78%
Subject-first sentence starts
(details)
86.34%
Subordinate conjunction sentence starts
(details)
100.00%
Technical jargon density
(details)
100.00%
Useless dialogue additions
(details)
100.00%
Dialogue tag variety (said vs. fancy)
(details)
89.0819%
Overall
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
Messages
Meta
AI
Aurora hid her left wrist
beneath the sleeve of her damp jacket.
The glass in front of
her stayed full. Condensation pooled around the base, wetting her fingers.
She wiped them on her
jeans. Silas stopped polishing the tumbler. He set the cloth down.
The fabric made a soft
slap against the mahogany counter. He looked at her hands, then at her face. His hazel
eyes narrowed
.
The grey streaks in his
auburn hair caught the low light of the pendant lamps.
You are a long way
from Cardiff.
Aurora kept her gaze on
the beer mat. She peeled a corner up. The cardboard resisted. People move. Not people like you. Not without reason. She let the corner fall.
The neon green sign from
the window cast a sickly glow across the bar top.
Dust motes danced in the
beam.
The air smelled of stale
ale and lemon polish. Old maps lined the walls, their edges curling with age. Black-and-white photographs watched from the dark wood panelling.
Faces of men who looked
like they knew where bodies
were buried
. I need a room. Silas leaned forward. His left knee clicked.
He rubbed the joint through
his trousers. The silver signet ring on his right hand glinted.
I run a bar, not
a hotel. You have space upstairs. Who told you that? Does it matter? Silas picked up the glass again.
He held it up to
the light. A smear remained on the rim.
He polished it away with
his thumb. Your father sent you.
My father does not know
I exist. That carries a heavy price tag. I can pay. With what?
You look like you slept
in that jacket. Aurora pulled her sleeve down further. The fabric covered the crescent scar. She remembered the bike chain. The gravel. The blood. That was a lifetime ago. Before the law degree. Before Evan. Before the bruising started. I have cash. Cash buys
silence
. It does not buy safety. I need both. Silas set the glass down. He walked around the bar. His limp was more pronounced on the worn floorboards. He stopped beside her. He smelled of tobacco and old paper. He reached out. She flinched. He paused. His hand hovered near her shoulder. He dropped it to his side. Show me. Aurora hesitated. She pushed her sleeve up. The white scar stood out against her skin. Silas
traced
the line with a rough finger. He did not touch her skin. He hovered over the mark. Brendan's daughter had a scar like this. Brendan's daughter is dead. Are you sure? I buried her. Silas stepped back. He crossed his arms. The movement pulled his jacket tight across his shoulders.
Then who sits at my
bar? Someone who wants to stay buried. You brought trouble with you. I can smell it. It is behind me. Trouble does not stay behind. It follows. Like a shadow. Aurora stood up. The stool scraped against the floor. The sound
echoed
in the quiet room. She reached into her pocket. Her fingers brushed the cold steel of the key Silas had slid across the counter earlier. She had not noticed him do it. I will take the room. I did not offer it. You slid the key. I slid it to see if you were still honest. And? You kept it. That counts for something. Aurora pocketed the key. She turned toward the door. The green neon sign buzzed. A car engine revved outside. Headlights swept across the ceiling. The beams cut through the smoke haze. Stay here. Silas moved toward the window. He peeked through the blinds. His hand went to the small of his back. Who is it? Men in suits. Not locals. Aurora's breath hitched. She moved to the back of the bar. The hidden bookshelf stood against the rear wall. She knew the mechanism. She had watched Silas use it once before. She pressed the spine of a thick atlas. The shelf clicked. It swung inward. Get in. I am not hiding. You are dead, remember? Dead people do not stand in the light. Aurora stepped into the dark room. The air inside was cold. It smelled of metal and gun oil. A single bulb hung from the ceiling. It
flickered
. Silas closed the shelf. The latch clicked. She was alone. Voices filtered through the wood. Muffled. Angry. We
know
she is here. This is a private establishment. Do not play games, Blackwood. We have witnesses. Witnesses lie. Not when they
are paid
enough. Footsteps approached the back wall. Aurora pressed herself into the shadows. Her hand found the table in the centre of the room. Her fingers
traced
the surface. Dust. She wiped it away. The bookshelf moved. Light spilled in. Silas stood there. He held a pistol. It was not pointed at her. He aimed it at the door behind him. Get down. Aurora dropped. Glass
shattered
. A bullet sparked off the doorframe. Silas fired twice. The shots
were deafening
in the small space. The smell of cordite filled the air. They are leaving. For now. Silas lowered the gun. He checked the chamber. He clicked it shut. You owe me a door. I told you. I can pay. Silas looked at her. His face was hard. The lines around his eyes deepened. Money is not the currency here, Rory. He used her nickname. The sound of it hit her like a physical blow. She stood up. Her legs shook. She steadied herself on the table. What do you want? Information. About what? About why men with silenced pistols are looking for a dead girl. Aurora walked past him. She stepped into the main bar. The front door hung open. The night air rushed in. Cold. Sharp. She looked out at the street. The car
was gone
. Only the exhaust fumes remained. They will come back. Yes.
Then I need more than
a room. Silas joined her. He locked the door. He turned the sign to Closed. The green neon buzzed and died.
Then you need to start
talking. Aurora looked at her wrist. The scar
throbbed
. Where do we start? Start with the name of the man who put the scar there. Aurora turned away. She walked toward the stairs. The wood creaked under her feet. Evan. Silas went still. He did not follow. Evan who? Evan who owns the city. Silas laughed. It was a dry, humourless sound. There are many men who think they own the city. Not like him. Silas walked to the bar. He poured two drinks. He slid one across the counter. Aurora did not take it. Drink it. It will help. I do not need help. You need to stay alive. There is a difference. Aurora picked up the glass. She swallowed the liquid. It burned her throat. She set the glass down. Hard. He knows I am here. Then we move you. Where? Somewhere he does not
look
. There is no such place. Silas picked up his own glass. He swirled the amber liquid. There is one. Where? Silas looked at the ceiling. Then at the floor. Then at her. Underground. Aurora frowned. You mean the tube? I mean the tunnels. The old ones. The ones not on the map. Why there?
Because rats survive where lions
starve. Aurora grabbed her jacket. She pulled it tight. Show me. Silas finished his drink. He set the glass in the sink. He walked to the back room. He moved the atlas again. The shelf swung open. But this time, he did not stop. He walked into the dark. Follow me. Aurora followed. The room led to a corridor. The walls were brick. Damp seeped through the mortar. A single light bulb hung at the far end. It swung
gently
. How do you
know
about this? I built half of it. When? Before you were born. They reached the end of the corridor. A steel door stood before them. It had no handle. Silas pressed his signet ring against a panel. The metal groaned. The door unlocked. Silas pushed it open. A rush of cold air hit them. It smelled of earth and rust. Welcome to the nest. Aurora stepped through. The ground beneath her feet was not concrete. It was dirt. She looked up. The ceiling was low. Pipes ran along the walls. Water dripped.
Somewhere in the distance, a
train rumbled. Silas closed the door. The lock engaged with a heavy thud. You are safe here. For how long? Until I say otherwise. Aurora walked deeper into the tunnel. Her shoes squelched in the mud. She stopped. She turned back. Silas stood in the doorway. He was half in shadow. Why help me? Silas touched his knee. He grimaced.
Because I owe Brendan a
debt. He is not here to collect. I
know
. Silas reached into his jacket. He pulled out a phone. He tossed it to her. She caught it. It was heavy. Old. Only one number in there. Who? Me. What if I need something else? Then you wait. Aurora looked at the phone. The screen was black. Go to sleep, Rory. We move at dawn. Aurora turned away. She walked into the darkness. The dirt floor felt soft. She found a cot in the corner. It smelled of mould. She sat down. Silas remained at the door. He watched her. He did not blink. Sleep with one eye open. Aurora lay down. She closed her eyes. She listened to the dripping water. Tick. Tock. Tick. Tock. A noise came from the tunnel ahead. A footstep. Aurora opened her eyes. She reached for the knife in her boot. Silas raised his hand. He held a finger to his lips. He was not alone. Someone else was in the tunnel. Aurora gripped the knife. The metal was cold. She slid off the cot. She moved silently. Silas moved with her. They crept toward the sound. The
footsteps
stopped. A voice whispered from the dark. Found you. Aurora tightened her grip on the knife. She stepped forward. Show yourself. A figure emerged from the shadows. He wore a mask. He held a phone. He recorded them. Evan sends his regards. Silas raised his pistol. Drop it. The man laughed. He did not drop the phone. You cannot shoot me. Watch me.
If I die, the video
uploads. Aurora froze. What video? The man tapped the screen. Everything. Where you are. Who you are. Who you are with. Silas lowered the gun
slightly
. Delete it. Make me. The man lunged. Silas fired. The shot missed. The man ran. Aurora chased him. Her boots slapped against the wet earth. The tunnel curved. The light faded. She lost him in the dark. She stopped. She listened. Nothing. Only the dripping water. Silas caught up. He
was breathing
hard. His limp was worse. He got away. He has the location. We move. Now. Where? Silas looked at the ceiling. Water dripped onto his face. Higher. Aurora looked at the tunnel. It went deep. How do we go higher? Silas pointed to a ladder on the wall. It rusted. It led up into the darkness. Climb. Aurora grabbed the rung. The metal was cold. She pulled herself up. Silas followed. Halfway up, the ladder shook. Someone
was climbing
below them. Aurora looked down. She saw nothing. She looked up. The hatch was closed. It was locked. Silas reached the top. He pushed against the metal. It did not move. We are trapped. Aurora looked down. The
footsteps
below were closer. Silas pulled a device from his pocket. He attached it to the hatch. Stand back. Aurora pressed herself against the wall. Silas triggered the device. An explosion rocked the ladder. The hatch blew open. Light flooded in. They climbed through. They were in a basement. Boxes stacked high. Dust everywhere. Silas sealed the hatch. Where are we? Camden. Aurora looked around. How? Tunnels connect the city. Like veins. A phone rang. Silas answered. He listened. He hung up. They
know
we are here. How? The video. Aurora
clenched her fists
. Then we destroy the source. Silas looked at her. He smiled. It was a dangerous smile.
Now you sound like your
father. Where is he? Silas walked to the door. He opened it. The street noise rushed in. Come with me. Aurora followed. They stepped onto the pavement. The rain started. It fell hard. Silas hailed a cab. Get in. Aurora got in. Silas gave the driver an address. Where are we going? To meet the devil. Aurora looked out the window. The city blurred. Is Evan there? No. Who? The man who pays Evan. Aurora felt cold. Why tell me?
Because you need to know
what you are fighting. The cab stopped. A large building
loomed
ahead. Glass and steel. Lights burned on every floor. Silas paid the driver. He got out. Aurora stayed in the car. Are you coming? Silas stood in the rain. He waited. Aurora opened the door. She stepped out. The rain soaked her hair. They walked to the entrance. Two guards stood by the door. They wore suits. They wore earpieces. Silas walked past them. They did not stop him. Aurora followed. The lobby was empty. A reception desk stood in the centre. No one sat behind it. Silas walked to the lift. He pressed the button. The doors opened. They stepped inside. Silas pressed the top floor. The lift rose. The numbers climbed. Ten. Twenty. Thirty. The lift stopped. The doors opened. A man stood there. He wore a white suit. He held a glass of wine. Welcome, Aurora. Aurora stepped out. Who are you? The man smiled. He took a sip of wine. I am the reason you ran. Silas stepped beside her. He raised his gun. The man did not flinch. Put that away, Silas. You
know
it will not work. Silas lowered the gun. Why are we here? To make a deal. Aurora looked at the man. She knew him. She had seen his face on the news. You are dead. Am I? The man walked to the window. He looked out at the city. Death is a matter of perspective. He turned around. He raised his glass. To new beginnings. Aurora looked at Silas. Silas shook his head. Do not drink it. The man laughed. He drank the wine. He set the glass down. Sit down, Aurora. We have much to discuss. Aurora did not sit. I want Evan. The man waved his hand. Evan is a tool. Tools break. Where is he? The man walked to a desk. He opened a drawer. He pulled out a photo. He slid it across the desk. Aurora picked it up. It was a picture of Evan. He was dead. His eyes were open. He is no longer a problem. Aurora dropped the photo. Who killed him? The man smiled. I did. Aurora lunged. Silas held her back. Let me go. No. The man watched them. He picked up his glass. You are free, Aurora. Go home. Aurora pulled away from Silas. This is not freedom. It is the only kind you will get. Aurora looked at the photo on the floor. She looked at the man. I will find out the truth. The man shrugged. Try. Aurora turned. She walked to the lift. Silas followed. They got in. The doors closed. Aurora leaned against the wall. She breathed hard. He lied. Yes. About what? About everything. The lift reached the ground. The doors opened. They walked out. The rain had stopped. Silas hailed another cab. Where now? Home. Aurora got in. Silas gave the address of the bar. The cab drove off. Aurora looked at her wrist. The scar itched. She pulled out the phone Silas gave her. It buzzed. A message. Unknown Number: Run. Aurora looked at Silas. He did not
look
at her. He looked out the window. The cab turned a corner. A black car followed them. Aurora tapped Silas on the shoulder. He saw the car. He nodded. Drive faster. The driver sped up. The black car stayed behind. Aurora gripped the seat. They are not letting us go. Silas checked his gun. No. They are not. The cab screeched around a bend. The black car clipped the bumper. Sparks flew. Hold on. The cab hit a pothole. Aurora slammed into the door. Silas rolled down the window. He leaned out. He fired. The black car swerved. It hit a lamppost. Glass
shattered
. The cab stopped. Silas threw money at the driver. Go. The driver drove off. Silas and Aurora stood on the street. The black car
was wrecked
. Smoke rose from the engine. A door opened. A man stumbled out. He held his side. Blood soaked his shirt. Aurora walked toward him. Who sent you? The man spat blood. You already
know
. Aurora kicked him. He fell. Tell me. The man laughed. He died. Aurora stood over the body. She looked at Silas. We need to leave London. Silas looked at the sky. The first light of dawn appeared. No. We need to end this. How? Silas walked to the body. He searched the pockets. He found a key. He held it up. This opens a locker. Where? King's Cross. What is in it? Proof. Proof of what? Of who
really
owns the city. Aurora took the key. It was cold. Let's go. They walked toward the station. The city woke up around them. People rushed to work. They did not see the blood on Aurora's shoes. They reached the station. It was crowded. Silas pointed to the lockers. Row four. Number twelve. Aurora walked to the locker. She inserted the key. It turned. She opened the door. Inside was a box. She picked it up. It was heavy. She opened it. It was full of money. And a passport. Her passport. But the name was different. Laila. Aurora looked at Silas. What is this? Silas walked toward her. He did not smile. Your new life. I do not want a new life. You do not have a choice. Aurora closed the box. Who is Laila? Someone who does not exist. Aurora threw the box at him. It hit his chest. Money flew everywhere. People stopped. They stared. Silas did not move. Pick it up. No. Pick it up, or I leave you here. Aurora looked at the money on the floor. She looked at Silas. You are no better than them. Silas bent down. He picked up a note. He handed it to her. Read it. Aurora took the note. It was a death warrant. For her. Signed by Evan. Dated yesterday. Aurora looked at Silas. He is dead. The signature is real. How? Silas looked at the crowd. They
were watching
. We need to go. Now. Aurora grabbed the box. She shoved the money back inside. Where? Silas pointed to the train platform. Anywhere but here. Aurora ran. Silas followed. They jumped onto the moving train. The doors closed. Aurora looked out the window. A man stood on the platform. He wore a white suit. He waved. Aurora sat down. She opened the box. At the bottom was a gun. She picked it up. Silas sat opposite her. You will need that. Aurora checked the chamber. It was full. Who is next? Silas looked out the window. Everyone. The train entered a tunnel. The lights
flickered
. Aurora held the gun. She waited. The train slowed. It stopped. The doors opened. No platform. Just darkness. Silas stood up. Welcome to the end. Aurora stood up. She raised the gun. Let's finish this. They stepped into the dark.
created_at
"2026-02-19T12:39:37.238Z"
2/19/2026, 12:39:37 PM
model
"qwen/qwen3.5-397b-a17b-20260216"
app_id
182717
external_user
(null)
streamed
true
cancelled
false
latency
2262
moderation_latency
(null)
generation_time
477488
tokens_prompt
4618
tokens_completion
8724
native_tokens_prompt
4477
native_tokens_completion
8380
native_tokens_completion_images
(null)
native_tokens_reasoning
3566
native_tokens_cached
0
num_media_prompt
(null)
num_input_audio_prompt
(null)
num_media_completion
0
num_search_results
(null)
origin
"https://ncbench.com/"
is_byok
false
finish_reason
"stop"
native_finish_reason
"stop"
usage
0.00905155
router
(null)
provider_responses
0
endpoint_id
"ca5088a7-9042-417b-bdd4-4c1fdc8f16ee"
id
"233517fa93fb4d31a5c2beb60aab493a"
is_byok
false
latency
2262
model_permaslug
"qwen/qwen3.5-397b-a17b-20260216"
provider_name
"AtlasCloud"
status
200
api_type
"completions"
id
"gen-1771504777-lhPqiiXkAqE1j1asCrO7"
upstream_id
"233517fa93fb4d31a5c2beb60aab493a"
total_cost
0.00905155
cache_discount
(null)
upstream_inference_cost
0
provider_name
"AtlasCloud"
Evaluation details
Result
Evaluator
Details
Meta Data
100.00%
Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags
0
95.42%
AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount
3276
totalAiIsmAdverbs
3
found
0
adverb
"gently"
count
1
1
adverb
"slightly"
count
1
2
adverb
"really"
count
1
highlights
0
"gently"
1
"slightly"
2
"really"
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)
80.16%
AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount
3276
totalAiIsms
13
found
0
word
"silence"
count
1
1
word
"traced"
count
2
2
word
"echoed"
count
1
3
word
"flickered"
count
2
4
word
"footsteps"
count
3
5
word
"shattered"
count
2
6
word
"throbbed"
count
1
7
word
"loomed"
count
1
highlights
0
"silence"
1
"traced"
2
"echoed"
3
"flickered"
4
"footsteps"
5
"shattered"
6
"throbbed"
7
"loomed"
100.00%
Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches
2
maxInWindow
1
found
0
label
"eyes widened/narrowed"
count
1
1
label
"clenched jaw/fists"
count
1
highlights
0
"eyes narrowed"
1
"clenched her fists"
100.00%
Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells
0
narrationSentences
787
matches
(empty)
100.00%
Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount
6
hedgeCount
0
narrationSentences
787
filterMatches
0
"look"
1
"know"
hedgeMatches
(empty)
100.00%
Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences
787
gibberishSentences
0
adjustedGibberishSentences
0
longSentenceCount
0
runOnParagraphCount
0
giantParagraphCount
0
wordSaladCount
0
repetitionLoopCount
0
controlTokenCount
0
maxSentenceWordsSeen
16
ratio
0
matches
(empty)
100.00%
Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans
0
markdownWords
0
totalWords
3274
ratio
0
matches
(empty)
100.00%
Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions
0
unquotedAttributions
0
matches
(empty)
0.00%
Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions
235
wordCount
3274
uniqueNames
22
maxNameDensity
2.57
worstName
"Silas"
maxWindowNameDensity
5.5
worstWindowName
"Aurora"
discoveredNames
Cardiff
1
Evan
11
Silas
84
Blackwood
1
Rory
2
Closed
1
Brendan
3
Aurora
82
Number
2
Run
1
London
1
Cross
1
Laila
2
You
19
People
3
Dust
3
Show
3
Get
3
Glass
3
Welcome
3
Go
3
Let
3
persons
0
"Evan"
1
"Silas"
2
"Rory"
3
"Brendan"
4
"Aurora"
5
"Number"
6
"Laila"
7
"You"
8
"People"
9
"Get"
10
"Glass"
11
"Let"
places
0
"Cardiff"
1
"Closed"
2
"London"
3
"Go"
globalScore
0.217
windowScore
0
100.00%
Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences
161
glossingSentenceCount
1
matches
0
"looked like they knew where bodies were b"
100.00%
"Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches
0
per1kWords
0
wordCount
3274
matches
(empty)
100.00%
Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount
0
totalSentences
787
matches
(empty)
100.00%
Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs
436
mean
7.51
std
8.03
cv
1.069
sampleLengths
0
34
1
48
2
7
3
16
4
2
5
7
6
65
7
4
8
23
9
7
10
4
11
4
12
3
13
26
14
4
15
7
16
6
17
3
18
10
19
36
20
3
21
8
22
3
23
49
24
2
25
34
26
7
27
4
28
3
29
3
30
16
31
6
32
6
33
9
34
4
35
10
36
44
37
5
38
5
39
4
40
10
41
1
42
7
43
31
44
2
45
19
46
3
47
5
48
45
49
2
100.00%
Passive voice overuse
Target: ≤2% passive sentences
passiveCount
4
totalSentences
787
matches
0
"were buried"
1
"are paid"
2
"was gone"
3
"was wrecked"
100.00%
Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount
4
totalVerbs
748
matches
0
"were deafening"
1
"was breathing"
2
"was climbing"
3
"were watching"
100.00%
Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount
0
semicolonCount
0
flaggedSentences
0
totalSentences
787
ratio
0
matches
(empty)
100.00%
Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount
3276
adjectiveStacks
0
stackExamples
(empty)
adverbCount
64
adverbRatio
0.019536019536019536
lyAdverbCount
9
lyAdverbRatio
0.0027472527472527475
100.00%
Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences
787
echoCount
0
echoWords
(empty)
100.00%
Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences
787
mean
4.16
std
2.03
cv
0.488
sampleLengths
0
12
1
8
2
8
3
6
4
5
5
5
6
10
7
9
8
4
9
15
10
7
11
8
12
5
13
3
14
2
15
4
16
3
17
5
18
15
19
6
20
9
21
10
22
8
23
12
24
4
25
3
26
4
27
7
28
9
29
7
30
4
31
4
32
3
33
6
34
7
35
6
36
7
37
4
38
7
39
6
40
3
41
2
42
8
43
6
44
6
45
5
46
2
47
2
48
5
49
4
41.11%
Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats
70
diversityRatio
0.17662007623888182
totalSentences
787
uniqueOpeners
139
73.26%
Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount
14
totalSentences
637
matches
0
"Then who sits at my"
1
"Only the exhaust fumes remained."
2
"Then I need more than"
3
"Then you need to start"
4
"Then we move you."
5
"Somewhere he does not look."
6
"Then at the floor."
7
"Then at her."
8
"Somewhere in the distance, a"
9
"Only one number in there."
10
"Then you wait."
11
"Only the dripping water."
12
"Then we destroy the source."
13
"Anywhere but here."
ratio
0.022
62.39%
Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount
251
totalSentences
637
matches
0
"She wiped them on her"
1
"He set the cloth down."
2
"He looked at her hands,"
3
"His hazel eyes narrowed."
4
"You are a long way"
5
"She peeled a corner up."
6
"She let the corner fall."
7
"I need a room."
8
"His left knee clicked."
9
"He rubbed the joint through"
10
"I run a bar, not"
11
"You have space upstairs."
12
"He held it up to"
13
"He polished it away with"
14
"Your father sent you."
15
"My father does not know"
16
"I can pay."
17
"You look like you slept"
18
"She remembered the bike chain."
19
"I have cash."
ratio
0.394
33.78%
Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount
543
totalSentences
637
matches
0
"Aurora hid her left wrist"
1
"The glass in front of"
2
"Condensation pooled around the base,"
3
"She wiped them on her"
4
"Silas stopped polishing the tumbler."
5
"He set the cloth down."
6
"The fabric made a soft"
7
"He looked at her hands,"
8
"His hazel eyes narrowed."
9
"The grey streaks in his"
10
"You are a long way"
11
"Aurora kept her gaze on"
12
"She peeled a corner up."
13
"The cardboard resisted."
14
"She let the corner fall."
15
"The neon green sign from"
16
"Dust motes danced in the"
17
"The air smelled of stale"
18
"Faces of men who looked"
19
"I need a room."
ratio
0.852
86.34%
Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount
11
totalSentences
637
matches
0
"Before the law degree."
1
"Before the bruising started."
2
"Because rats survive where lions"
3
"Before you were born."
4
"Because I owe Brendan a"
5
"If I die, the video"
6
"Now you sound like your"
7
"To meet the devil."
8
"Because you need to know"
9
"To make a deal."
10
"To new beginnings."
ratio
0.017
100.00%
Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences
14
technicalSentenceCount
0
matches
(empty)
100.00%
Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags
0
uselessAdditionCount
0
matches
(empty)
100.00%
Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags
0
89.0819%