Run: 2026-02-19-01KHTYSGF0PD2D32AMB5P3V9Y3

Run Details

Duration:
1m 17s
Cost:
$0.094840
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The glass slipped from Rory's fingers and hit the bar top with a crack that silenced the nearest stools. Gin pooled across the lacquered wood, bleeding toward a stack of beer mats. "Rory Carter. Jesus Christ." She knew the voice before she turned. That particular way of stretching vowels, the faint Norfolk lilt buried under years of London polish. She hadn't heard it in, what, six years? Seven? And yet her body remembered it the way a dog remembers a hand that once fed it. "Marcus." He stood three feet away in a charcoal suit that cost more than her rent. The Marcus Hale she'd known at Cardiff had worn band shirts with holes in the armpits, had eaten cold baked beans from the tin at two in the morning while ranting about Foucault. This man had cufflinks. Actual cufflinks, silver, catching the dim light of The Raven's Nest like small accusatory eyes. "Seven years," he said. "Six and a half." "You're counting." He smiled, and there it was, the ghost of who he'd been. A flicker. Gone. Behind the bar, Silas limped past with a tray of clean glasses, his silver signet ring clinking against the stems. He glanced at Rory, then at Marcus, and said nothing. Silas had a talent for reading rooms the way other people read newspapers. "Let me buy you another." Marcus nodded at the spilled gin. "Whatever that was." "Hendrick's. Tonic. Cucumber." "Still?" "Some things don't change." He caught Silas's eye with the ease of someone accustomed to being noticed. Rory watched him order, two Hendrick's, neat pour, the cucumber sliced not quartered, and she catalogued the differences. The jaw had sharpened. He'd lost the softness around his middle. His hair, once a chaotic sprawl of brown curls, sat cropped close, disciplined. Even his hands looked different, manicured, deliberate. "You look well," she said, which meant nothing. "I look different. You can say it." She took the fresh glass Silas placed before her, nodded her thanks. "Alright. You look different." "Mergers and acquisitions." He said it the way someone might confess to a minor crime. "Chadwick Montrose. You know them?" "Should I?" "No. Probably not." He drank. "And you?" "Delivery driver." A pause. She felt it land, felt the recalibration behind his eyes. Marcus had always been transparent that way, his thoughts arriving on his face a half-second before he could suppress them. That much, at least, hadn't changed. "Right." "For a Chinese restaurant. The Golden Empress, round the corner." "Good food?" "Best char siu in Soho. Yu-Fei doesn't mess about." Another pause. The old maps on the walls seemed to press inward. A black-and-white photograph of some forgotten dock scene hung crooked above Marcus's left shoulder, and Rory focused on it because focusing on his face required more energy than she had. "I looked for you," he said. "After you left Cardiff. Eva told me you'd gone to London, but she wouldn't say where exactly. Protective, that one." "That's Eva." "I rang your mum once. Jennifer." "She didn't mention it." "She told me you were fine and that fine meant I should stop ringing." Rory traced the crescent scar on her left wrist with her thumb. Old habit. "Mum's good at subtext." "Is this about Evan?" The name landed between them like a stone dropped into still water. Around them, The Raven's Nest hummed with its usual trade. A couple argued about holiday plans near the door. Someone fed the jukebox, and Tom Waits growled through speakers that had seen better decades. The green neon from the sign outside bled through the frosted windows and painted everything in a sickly, beautiful light. "Not everything's about Evan." "It was when I knew you." "You knew me when I was twenty. People at twenty are drafts, Marcus. Rough outlines." "And now?" She held up the gin. "Final edit." He didn't laugh. She hadn't expected him to, not really. The Marcus she'd known would have. He would have thrown his head back, shown all his teeth, slapped the bar. This Marcus just nodded, like she'd confirmed something on a spreadsheet. "I should have been there," he said. "Where?" "When things were bad. With him. I should have done something." "What would you have done?" "I don't know. Something." "That's the problem with something. Never specific enough to be useful." His grip tightened around his glass. She watched the tendons in his hand shift, the skin whitening across his knuckles. The cufflinks caught the light again. "I saw him," Marcus said. "Evan. Last year. Corporate event in Bristol. He's in property development now. Had a woman on his arm, blonde, young. Laughing at everything he said." Rory's stomach turned. She set the gin down. "He came over to me at the bar. Shook my hand. Asked about old times. Like none of it happened." "That's his gift." "I wanted to put him through the wall." "But you didn't." "I shook his hand back. Smiled." Marcus stared into his glass. "Then I went to the toilets and threw up." Something softened in her chest, a loosening she didn't invite. She pushed it down. "We were in the same seminar for two years," Marcus said. "Constitutional Law. Every Tuesday and Thursday. You sat in the second row, left side. I sat behind you and copied your notes because mine were rubbish." "They were." "I watched it happen. The bruises you covered with long sleeves in June. The way you flinched when someone raised their voice. I told myself it wasn't my place. That you'd ask for help if you needed it." "Marcus." "I told myself that because it was easier than doing something difficult." Silas drifted past again, wiping the bar in slow circles. His hazel eyes met Rory's for a fraction of a second. A question in them. She gave the smallest shake of her head. "You want absolution," she said. "That's why you're telling me this." "I want you to know I'm sorry." "Noted." "Rory." "What do you want me to say? It's fine? Water under the bridge? That your guilt, which you've been carrying around like a good little Catholic boy, is hereby forgiven by the woman who actually lived through it?" The couple by the door had stopped arguing. Tom Waits had given way to silence between tracks. Marcus's jaw worked, the muscle pulsing beneath clean-shaven skin. "No," he said. "I don't want you to say that." "Good. Because I can't." She picked up her gin again. Drank. The botanical bite anchored her. "The suit's nice, by the way," she said, after a long moment. "Chadwick Montrose treating you well?" "Don't do that." "Do what?" "Deflect. You always did that. Change the subject, make a joke, move the conversation somewhere safe." "Safe's underrated." "You dropped out three months before finals. Your dad, Brendan, he'd already booked the restaurant for your graduation. Did you know that? He told me when I rang looking for you. He said, she was going to be a barrister. She would have been brilliant." Rory's throat closed. She set the glass down with care, aligning it precisely on the bar mat, because precision was the only thing holding her together. "Don't bring my dad into this." "He's proud of you. He told me that too." "Marcus, I swear to God." "He said, tell her I'm proud if you find her." She blinked. The green neon swam. She pressed her thumb harder into the scar on her wrist until the pain clarified things. "That was seven years ago." "Six and a half. You're counting, remember?" For a moment, neither of them spoke. The jukebox kicked back in, some blues number with too much bass. A group of students tumbled through the front door, trailing cold air and laughter. Normal life, filling the gaps. "I deliver food on a bicycle," Rory said. "I live upstairs." She pointed at the ceiling. "I read law textbooks sometimes, at night, like some people read romance novels. For the fantasy of it." "Come back." "To what?" "Finish your degree. I know people at King's College. Mature student programmes. I could make a call." "With your mergers and acquisitions contacts." "With my I-owe-you-more-than-a-phone-call contacts." She studied him. The suit, the cufflinks, the disciplined hair. Somewhere underneath all of it, the boy who'd eaten cold beans and argued about power structures at two in the morning. She wondered which version was the costume. "You changed," she said. "Everyone does." "Not like this. You used to talk about burning the system down. Now you wear it." His hand went to his cufflink, touched it once, dropped away. "The system pays well. And it turns out burning things down is less romantic when you can't afford the matches." "That's the saddest thing you've ever said to me." "Give it time." Silas appeared at the end of the bar, polishing a glass with the deliberate patience of a man who'd spent decades waiting for assets to come in from the cold. He caught Rory's eye again and tilted his head toward the back of the bar, toward the bookshelf that wasn't a bookshelf. "Friend of yours?" Marcus glanced at Silas. "Landlord." "Seems like more than that." "Most things are." Marcus reached into his jacket and produced a business card, cream-coloured, embossed. He placed it on the bar between them. "My direct line. Personal mobile on the back." "Mergers and acquisitions." "And old debts." She didn't pick it up. Didn't push it away either. "I should go," Marcus said. He straightened his jacket, a gesture so practiced it looked mechanical. "Client dinner in Mayfair. The kind where they serve foam on things that shouldn't have foam." "Sounds dire." "It is." He paused, one hand on the bar. "You would have been brilliant, Rory. Your dad was right." "Would have been. That's the part that stings." He held her gaze. For three seconds, maybe four, the mask slipped and she saw him, the real him, the frightened boy who'd watched something terrible happen to his friend and done nothing and would carry that nothing like a tumour for the rest of his manicured, cufflinked, foam-dinner life. Then the mask reset. He nodded once, turned, and walked toward the door. Rory watched him go. The business card sat on the bar, absorbing a ring of condensation from her glass. She pressed her thumb to the scar one final time. "Silas." He materialised at her elbow. The signet ring clinked against the bar top. "That bookshelf of yours. The one that isn't a bookshelf." His eyebrows lifted a fraction. "I need to use the room behind it." She picked up the business card, turned it over. The personal number was written in blue ink, slightly uneven. Human. "And I need you to run a name for me. Marcus Hale. Chadwick Montrose." Silas studied her face for a long moment. Then he reached beneath the bar and she heard the soft mechanical click of a hidden latch releasing. "After you," he said.
created_at"2026-02-19T12:42:56.361Z" 2/19/2026, 12:42:56 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1402
moderation_latency90
generation_time77347
tokens_prompt4618
tokens_completion2880
native_tokens_prompt4718
native_tokens_completion2850
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"
usage0.09484
router(null)
provider_responses
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endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"17eff995-44c3-43bc-a8ba-30c4157a39a0"
is_byokfalse
latency1401
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771504976-vX6Czh7fAhhoNqRzW1ft"
upstream_id"17eff995-44c3-43bc-a8ba-30c4157a39a0"
total_cost0.09484
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount0
adverbTags(empty)
dialogueSentences110
tagDensity0.2
leniency0.4
rawRatio0
effectiveRatio0
91.86% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1842
totalAiIsmAdverbs3
found
0
adverb"really"
count1
1
adverb"precisely"
count1
2
adverb"slightly"
count1
highlights
0"really"
1"precisely"
2"slightly"
80.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found
0"Marcus"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
78.28% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1842
totalAiIsms8
found
0
word"lilt"
count1
1
word"flicker"
count1
2
word"chaotic"
count1
3
word"traced"
count1
4
word"stomach"
count1
5
word"silence"
count1
6
word"mechanical"
count2
highlights
0"lilt"
1"flicker"
2"chaotic"
3"traced"
4"stomach"
5"silence"
6"mechanical"
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
narrationSentences117
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences117
filterMatches(empty)
hedgeMatches
0"seemed to"
1"happen to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences205
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1835
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions34
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1063
uniqueNames13
maxNameDensity1.32
worstName"Marcus"
maxWindowNameDensity3
worstWindowName"Marcus"
discoveredNames
Rory11
Norfolk1
London1
Marcus14
Hale1
Cardiff1
Foucault1
Raven2
Nest2
Silas8
Hendrick1
Tom2
Waits2
persons
0"Rory"
1"Marcus"
2"Hale"
3"Raven"
4"Nest"
5"Silas"
6"Hendrick"
7"Tom"
8"Waits"
places
0"Norfolk"
1"London"
2"Cardiff"
globalScore0.841
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1835
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences205
matches
0"carry that nothing"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs124
mean14.8
std15.37
cv1.039
sampleLengths
032
14
249
31
467
54
64
717
843
914
103
111
124
1362
148
157
1612
174
1820
192
207
212
2238
231
2410
252
269
2742
2826
292
306
314
3214
3318
344
3566
364
376
3815
392
407
4141
427
431
4411
455
464
4711
4826
4930
99.27% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences117
matches
0"being noticed"
1"was written"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs199
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences205
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1069
adjectiveStacks1
stackExamples
0"beneath clean-shaven skin."
adverbCount34
adverbRatio0.031805425631431246
lyAdverbCount5
lyAdverbRatio0.004677268475210477
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences205
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences205
mean8.95
std7.71
cv0.861
sampleLengths
019
113
24
37
416
58
61
717
81
915
1033
114
1215
134
144
1514
162
171
1820
1910
2013
2111
223
233
241
254
2613
2718
284
297
3013
317
328
337
3412
354
3615
375
382
395
402
412
422
4310
4420
456
461
4710
482
499
62.60% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.3902439024390244
totalSentences205
uniqueOpeners80
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences96
matches
0"Even his hands looked different,"
1"Somewhere underneath all of it,"
2"Then the mask reset."
3"Then he reached beneath the"
ratio0.042
49.17% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences96
matches
0"She knew the voice before"
1"She hadn't heard it in,"
2"He stood three feet away"
3"He smiled, and there it"
4"He glanced at Rory, then"
5"He caught Silas's eye with"
6"He'd lost the softness around"
7"His hair, once a chaotic"
8"she said, which meant nothing"
9"She took the fresh glass"
10"He said it the way"
11"She felt it land, felt"
12"She held up the gin."
13"He didn't laugh."
14"She hadn't expected him to,"
15"He would have thrown his"
16"His grip tightened around his"
17"She watched the tendons in"
18"She set the gin down."
19"She pushed it down."
ratio0.427
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences96
matches
0"The glass slipped from Rory's"
1"Gin pooled across the lacquered"
2"She knew the voice before"
3"That particular way of stretching"
4"She hadn't heard it in,"
5"He stood three feet away"
6"The Marcus Hale she'd known"
7"This man had cufflinks."
8"He smiled, and there it"
9"He glanced at Rory, then"
10"Silas had a talent for"
11"Marcus nodded at the spilled"
12"He caught Silas's eye with"
13"Rory watched him order, two"
14"The jaw had sharpened."
15"He'd lost the softness around"
16"His hair, once a chaotic"
17"she said, which meant nothing"
18"She took the fresh glass"
19"He said it the way"
ratio0.875
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences96
matches(empty)
ratio0
95.24% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount3
matches
0"Somewhere underneath all of it, the boy who'd eaten cold beans and argued about power structures at two in the morning."
1"Silas appeared at the end of the bar, polishing a glass with the deliberate patience of a man who'd spent decades waiting for assets to come in from the cold."
2"For three seconds, maybe four, the mask slipped and she saw him, the real him, the frightened boy who'd watched something terrible happen to his friend and done…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount0
fancyTags(empty)
dialogueSentences110
tagDensity0.127
leniency0.255
rawRatio0
effectiveRatio0
87.9860%