Run: 2026-02-19-01KHTYM2506CRDB93D8NK7NDMM

Run Details

Duration:
33.9s
Cost:
$0.008448
Provider:
Alibaba

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
Blood pooled in the shape of a distorted star on the cracked tiles. Detective Harlow Quinn stepped over the yellow tape, her boots crunching on shattered glass that glittered like ground diamonds under the harsh floodlights. The air tasted of ozone and burnt sugar, a cloying sweetness that coated the back of her throat. This was not a standard murder scene. Standard murders happened in alleys or flats, not inside the sealed maintenance tunnels of the abandoned Camden Tube station. "Quinn. You're late." DS Davies stood by the body, his face pale beneath the sterile white lights. He held a notebook but hadn't written a word. "Uniforms are saying it's a gang initiation gone wrong." Harlow ignored him. She crouched beside the corpse. A young man, early twenties, dressed in expensive designer clothes that looked ridiculous against the grime of the tunnel floor. His eyes were wide, fixed on the curved ceiling where rust dripped like black tears. No visible wounds marred his skin, yet the blood surrounding him suggested his entire volume had drained out in seconds. "Gang initiation?" Harlow's voice cut through the hum of the generators. "With no weapon? No struggle marks?" "Look at the symbols." Davies pointed a gloved finger at the floor. Crude chalk lines circled the body, intersecting in jagged patterns. "Satanic rubbish. Kids get ideas from the internet." Harlow narrowed her eyes. The chalk was not crude. The lines possessed a mathematical precision that defied a drunken hand. They hummed, a low vibration she felt in her teeth rather than heard. She leaned closer, ignoring the metallic sting of the blood. The symbols were not Latin, nor any modern language. They mirrored the etchings on the brass compass currently burning a hole in her pocket. "This isn't Satanism, Davies. It's a ward." "A what?" "A containment circle. But it's broken." Harlow traced the air above the chalk without touching it. The residue prickled her fingertips, a static charge that made the hair on her arms stand up. "Someone didn't summon something. They tried to keep something in. And it got out." Davies scoffed, shifting his weight. The leather of his jacket creaked. "You've been chasing ghosts since Morris died, Harlow. Don't drag me into your superstition." The mention of her former partner tightened a knot in Harlow's stomach, sharp and familiar. She stood up, smoothing her trench coat. The fabric felt heavy, damp with the tunnel's unnatural chill. "Morris knew the difference between a prank and a predator. Where are the witnesses?" "No one down here except the homeless squatters. They've all scattered. Claimed the walls started bleeding before they found the body." "Walls don't bleed, Davies. People do." Harlow scanned the tunnel. The darkness beyond the floodlights seemed thicker than usual, swallowing the light before it could penetrate deep into the curved brickwork. Her hand drifted to her left wrist, fingers brushing the worn leather of her watch. The second hand ticked backwards. Once. Twice. Then forward again. She pulled the Veil Compass from her pocket. The brass casing felt warm, the verdigris patina glowing faintly green in the dim light. The needle spun wildly, then snapped toward the far end of the tunnel, pointing not at the exit, but at a solid brick wall covered in decades of graffiti. "What is that thing?" Davies squinted, stepping closer. "Evidence bag it." "Don't touch it." Harlow snapped the compass shut. "This location. Why here? Why an abandoned Tube station beneath Camden?" "Cheap rent for drug deals?" Davies offered weakly. "The Veil Market moves every full moon," Harlow muttered, more to herself than him. "Tonight is the full moon. This station sits directly above the old ley lines. It's a nexus." "You're losing it." Davies reached for his radio. "I'm calling for the coroner. We need to move the body." "The body stays." Harlow blocked his path, her posture rigid, military precision radiating from her frame. "Look at the blood again. It's not pooling right. It's flowing uphill." Davies looked down. The crimson liquid crept slowly toward the brick wall the compass indicated, defying gravity. Tiny rivulets climbed the rough surface, tracing the cracks in the mortar. "That's... impossible." "Nothing is impossible. Just unexplained." Harlow moved toward the wall. The graffiti here depicted ancient kings and modern tags, layers of history peeling away like dead skin. But in the center, the paint had flaked off entirely, revealing fresh stone beneath. A door outline glowed faintly, pulsing in time with the heartbeat she now heard thumping in her own ears. "Quinn, step back." Davies drew his service weapon. The click of the safety disengaging echoed loudly in the confined space. "That's an order." "Put it away, Davies. You can't shoot a rift." "A rift?" "A tear in the fabric. Something came through here. Something that took this boy's life force to fuel its crossing." Harlow pressed her palm against the cold stone. It vibrated violently, shaking her bones. The smell of ozone intensified, mixing with the scent of rotting flowers. "The boy wasn't the victim. He was the key." Footsteps echoed from the tunnel entrance behind them. Not the heavy tread of uniformed officers, but a light, hurried scuffing. Harlow spun around, hand hovering near her own holster. A figure emerged from the shadows, clutching a worn leather satchel to their chest. Curly red hair bounced with every step, and round glasses reflected the floodlights, hiding the eyes behind them. The woman stopped ten feet away, breathless, her freckled complexion pale. "You shouldn't be here," the woman said, her voice trembling but urgent. She tucked a stray curl behind her left ear, a nervous tic that betrayed her fear. "The ward is broken. If you open that door, you won't be able to close it." Davies leveled his gun at the intruder. "Police! Identify yourself!" "Eva Kowalski. British Museum archives." Eva didn't look at the gun. Her green eyes locked onto Harlow. "Detective Quinn. You have the Compass. I can feel it pulling." "How do you know my name?" Harlow asked, her voice low. "I've been watching the markers. The energy spike drew me here." Eva took a step forward, ignoring Davies' shouted warning to halt. "That boy didn't die naturally. He was drained to power a gateway. And whatever is on the other side is hungry." "Hungry for what?" Davies demanded, his finger tightening on the trigger. "For more keys." Eva pointed at the wall behind Harlow. "Look." Harlow turned. The glowing outline of the door had expanded. The brickwork dissolved into swirling smoke, revealing a glimpse of a marketplace beyond. Stalls draped in tattered silks lined a dusty thoroughfare. Creatures with too many limbs haggled over jars of glowing dust. The noise hit them a second later—a cacophony of screeches, bells, and languages that hurt the ears. "The Veil Market," Harlow breathed. "It's real?" Davies lowered his gun an inch, his skepticism cracking under the weight of the impossible view. "It's always been real," Eva said, digging into her satchel. "You just needed the right token to see it. Or the right sacrifice." The smoke billowed outward, invading the tunnel. The temperature plummeted. Frost raced across the floor, freezing the blood mid-climb. From the swirling grey mist, a shadow detached itself. It stood seven feet tall, composed of shifting darkness and jagged bone. It had no face, only a void where features should be. It turned its blank gaze toward them. "Run," Eva whispered. The creature lunged. It moved faster than physics allowed, crossing the distance in a blink. Davies fired three shots. The bullets passed through the shadow as if it were made of fog, embedding themselves in the far wall with sharp pings. " Bullets won't work!" Harlow shoved Davies aside. She drew her weapon anyway, aiming for the creature's centre of mass out of instinct. "Eva, how do we seal it?" "The Compass!" Eva yelled, ducking as a stalactite of ice shattered where her head had been. "Use the Compass to reverse the polarity! But you need a blood anchor!" "My blood?" Harlow gritted her teeth, dodging a swipe from a clawed hand that tore through her coat sleeve. "No!" Eva scrambled backward, tripping over a cable. "The boy's blood! It's still active!" The creature swiped again, knocking Harlow off her feet. She hit the ground hard, the wind knocked out of her lungs. The Veil Compass skittered across the frost-covered floor, sliding toward the swirling portal. The needle spun faster, screaming a high-pitched whine that threatened to burst eardrums. The shadow loomed over Harlow, raising a limb that ended in a razor-sharp blade of obsidian. The void where its face should be seemed to deepen, pulling at her very soul. Memories flashed unbidden—Morris screaming in the dark, the unnatural silence of his empty desk, the files she'd buried deep in her drawer. "Get the Compass!" Harlow roared, rolling away just as the blade sliced the concrete where she lay. Sparks flew. Davies fired again, useless rounds lighting up the gloom. Eva crawled toward the sliding compass, her fingers stretching. The creature noticed. It pivoted, ignoring Harlow, and stalked toward the redhead. Eva froze, her back against a support pillar. She clutched her satchel like a shield. The creature raised its arm for a killing blow. Harlow scrambled to her feet, ignoring the pain in her ribs. She spotted the pool of blood near the broken ward. It glowed faintly red. She kicked a shard of glass into the pool, splashing the active blood onto her boots, then sprinted. She tackled the creature from the side. It felt like hitting a wall of solid ice. Cold burned through her clothes, numbing her skin instantly. The creature shrieked, a sound like grinding metal, and threw her off. Harlow crashed into the graffiti-covered wall, slumping down beside the open portal. The Compass lay inches from her hand. The needle pointed directly at the creature's chest. "Eva! Now!" Harlow gasped, grabbing the brass casing. It burned her palm, searing the skin. "I can't!" Eva cried, pinned by the creature's gaze. "It's too strong!" Harlow looked at the blood on her boots, then at the compass. The instructions in the old files Morris left behind surfaced in her mind. *Blood calls to blood. Life feeds the gate, life seals the breach.* She sliced her thumb on a jagged edge of the compass casing. Blood welled up, bright and red. She slammed her bleeding hand onto the face of the compass, smearing the blood over the protective sigils. "Close!" she screamed. The compass erupted in blinding white light. The needle snapped backward, spinning counter-clockwise with violent force. A shockwave blasted outward, knocking everyone flat. The creature howled as the light lashed it like whips of fire. The swirling smoke of the portal reversed, sucking inward with the force of a hurricane. The creature clawed at the ground, trying to anchor itself, but the vacuum dragged it back toward the rift. It reached for Eva, long fingers grazing her ankle, before the light consumed it entirely. With a final thunderous crack, the portal slammed shut. The brick wall solidified. The glowing outline vanished. Silence rushed back into the tunnel, heavy and absolute. Harlow lay on her back, staring at the ceiling. Her hand throbbed, the cut deep. The Compass lay beside her, the verdigris casing now blackened, the needle still. Davies groaned, pushing himself up. "What... what was that?" Eva sat up, adjusting her crooked glasses. She looked at Harlow, her expression unreadable. "That was just the scout." Harlow sat up slowly, clutching her injured hand. "Scout?" "They never send one alone," Eva said, her voice dropping to a whisper. "If the gate opened, even for a second, they know where we are now." A low rumble began beneath their feet. Dust trickled from the ceiling. The graffiti on the wall began to peel away again, not revealing brick, but fresh, pulsing veins of purple light cracking through the stone. "The market isn't closing," Eva said, standing up and backing away. "It's expanding."
created_at"2026-02-19T12:39:57.869Z" 2/19/2026, 12:39:57 PM
model"qwen/qwen3.5-plus-20260216"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1035
moderation_latency(null)
generation_time33750
tokens_prompt4671
tokens_completion3160
native_tokens_prompt4518
native_tokens_completion2767
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"
usage0.008448
router(null)
provider_responses
0
endpoint_id"71e0f6c3-7815-4734-92d3-8a04f3b0ca91"
id"chatcmpl-ab88042e-155c-91ec-9145-45f1d899b710"
is_byokfalse
latency1035
model_permaslug"qwen/qwen3.5-plus-20260216"
provider_name"Alibaba"
status200
api_type"completions"
id"gen-1771504797-ddAFJ6DpyemXQVc8hOgQ"
upstream_id"chatcmpl-ab88042e-155c-91ec-9145-45f1d899b710"
total_cost0.008448
cache_discount(null)
upstream_inference_cost0
provider_name"Alibaba"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags33
adverbTagCount2
adverbTags
0"Davies offered weakly [weakly]"
1"Eva scrambled backward [backward]"
dialogueSentences68
tagDensity0.485
leniency0.971
rawRatio0.061
effectiveRatio0.059
92.55% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2014
totalAiIsmAdverbs3
found
0
adverb"slowly"
count2
1
adverb"very"
count1
highlights
0"slowly"
1"very"
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)
32.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2014
totalAiIsms27
found
0
word"shattered"
count2
1
word"standard"
count2
2
word"traced"
count1
3
word"weight"
count2
4
word"stomach"
count1
5
word"familiar"
count1
6
word"chill"
count1
7
word"predator"
count1
8
word"scanned"
count1
9
word"tracing"
count1
10
word"echoed"
count2
11
word"vibrated"
count1
12
word"footsteps"
count1
13
word"cacophony"
count1
14
word"raced"
count1
15
word"loomed"
count1
16
word"silence"
count2
17
word"gloom"
count1
18
word"searing"
count1
19
word"throbbed"
count1
20
word"unreadable"
count1
21
word"whisper"
count1
highlights
0"shattered"
1"standard"
2"traced"
3"weight"
4"stomach"
5"familiar"
6"chill"
7"predator"
8"scanned"
9"tracing"
10"echoed"
11"vibrated"
12"footsteps"
13"cacophony"
14"raced"
15"loomed"
16"silence"
17"gloom"
18"searing"
19"throbbed"
20"unreadable"
21"whisper"
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
narrationSentences159
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences159
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences193
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords12
totalWords2007
ratio0.006
matches
0"Blood calls to blood. Life feeds the gate, life seals the breach."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
51.08% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions74
wordCount1567
uniqueNames12
maxNameDensity1.98
worstName"Harlow"
maxWindowNameDensity3
worstWindowName"Harlow"
discoveredNames
Harlow31
Quinn1
Camden1
Tube1
Davies15
Crude1
Latin1
Veil2
Compass4
Eva14
Morris2
Sparks1
persons
0"Harlow"
1"Quinn"
2"Davies"
3"Compass"
4"Eva"
5"Morris"
6"Sparks"
places(empty)
globalScore0.511
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences125
glossingSentenceCount2
matches
0"seemed thicker than usual, swallowing the light before it could penetrate deep into the curved brickwork"
1"felt like hitting a wall of solid ice"
50.52% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.495
wordCount2007
matches
0"not at the exit, but at a solid brick wall covered in decades of graffiti"
1"Not the heavy tread of uniformed officers, but a light, hurried scuffing"
2"not revealing brick, but fresh, pulsing veins of purple light cracking through the st"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences193
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs71
mean28.27
std18.33
cv0.649
sampleLengths
080
135
263
317
430
567
67
72
847
925
1046
1121
1256
1352
1411
1519
168
1731
1819
1928
2029
212
2260
2323
249
252
2655
2729
2843
2944
3010
3128
3211
3343
3411
3511
3660
375
3818
3923
4051
417
423
4341
4429
4529
4619
4714
4847
4953
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences159
matches
0"were made"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs291
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences2
totalSentences193
ratio0.01
matches
0"The noise hit them a second later—a cacophony of screeches, bells, and languages that hurt the ears."
1"Memories flashed unbidden—Morris screaming in the dark, the unnatural silence of his empty desk, the files she'd buried deep in her drawer."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount802
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.03366583541147132
lyAdverbCount12
lyAdverbRatio0.014962593516209476
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences193
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences193
mean10.4
std5.47
cv0.526
sampleLengths
013
123
218
37
419
517
69
79
83
95
1020
1115
1220
1311
146
1512
1610
178
184
195
2011
2113
2210
239
2415
257
262
2716
2817
2914
305
316
3214
3315
347
3510
3614
3721
3810
3921
4015
415
421
431
443
458
4615
4729
488
493
45.60% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.34196891191709844
totalSentences193
uniqueOpeners66
21.93% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences152
matches
0"Then forward again."
ratio0.007
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences152
matches
0"He held a notebook but"
1"She crouched beside the corpse."
2"His eyes were wide, fixed"
3"They hummed, a low vibration"
4"She leaned closer, ignoring the"
5"They mirrored the etchings on"
6"She stood up, smoothing her"
7"Her hand drifted to her"
8"She pulled the Veil Compass"
9"It vibrated violently, shaking her"
10"She tucked a stray curl"
11"Her green eyes locked onto"
12"It stood seven feet tall,"
13"It had no face, only"
14"It turned its blank gaze"
15"It moved faster than physics"
16"She drew her weapon anyway,"
17"She hit the ground hard,"
18"It pivoted, ignoring Harlow, and"
19"She clutched her satchel like"
ratio0.204
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount141
totalSentences152
matches
0"Blood pooled in the shape"
1"Detective Harlow Quinn stepped over"
2"The air tasted of ozone"
3"This was not a standard"
4"DS Davies stood by the"
5"He held a notebook but"
6"Harlow ignored him."
7"She crouched beside the corpse."
8"A young man, early twenties,"
9"His eyes were wide, fixed"
10"Harlow's voice cut through the"
11"Davies pointed a gloved finger"
12"Harlow narrowed her eyes."
13"The chalk was not crude."
14"The lines possessed a mathematical"
15"They hummed, a low vibration"
16"She leaned closer, ignoring the"
17"The symbols were not Latin,"
18"They mirrored the etchings on"
19"Harlow traced the air above"
ratio0.928
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences152
matches(empty)
ratio0
39.17% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount9
matches
0"Detective Harlow Quinn stepped over the yellow tape, her boots crunching on shattered glass that glittered like ground diamonds under the harsh floodlights."
1"A young man, early twenties, dressed in expensive designer clothes that looked ridiculous against the grime of the tunnel floor."
2"The lines possessed a mathematical precision that defied a drunken hand."
3"The residue prickled her fingertips, a static charge that made the hair on her arms stand up."
4"She tucked a stray curl behind her left ear, a nervous tic that betrayed her fear."
5"The noise hit them a second later—a cacophony of screeches, bells, and languages that hurt the ears."
6"The bullets passed through the shadow as if it were made of fog, embedding themselves in the far wall with sharp pings."
7"The needle spun faster, screaming a high-pitched whine that threatened to burst eardrums."
8"The shadow loomed over Harlow, raising a limb that ended in a razor-sharp blade of obsidian."
3.79% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags33
uselessAdditionCount8
matches
0"DS Davies stood, his face pale beneath the sterile white lights"
1"Harlow muttered, more to herself than him"
2"Harlow blocked, her posture rigid, military precision radiating from her frame"
3"the woman said, her voice trembling but urgent"
4"Harlow asked, her voice low"
5"Davies demanded, his finger tightening on the trigger"
6"Davies lowered, his skepticism cracking under the weight of the impossible view"
7"Eva said, her voice dropping to a whisper"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags16
fancyCount11
fancyTags
0"Harlow snapped (snap)"
1"Harlow muttered (mutter)"
2"Harlow pressed (press)"
3"Davies demanded (demand)"
4"Harlow breathed (breathe)"
5"Eva whispered (whisper)"
6"Eva yelled (yell)"
7"Harlow roared (roar)"
8"Harlow gasped (gasp)"
9"Eva cried (cry)"
10"she screamed (scream)"
dialogueSentences68
tagDensity0.235
leniency0.471
rawRatio0.688
effectiveRatio0.324
74.5871%