Run: 2026-02-19-01KHTYV2F1Q8F0PK1XXSM8H5M0

Run Details

Duration:
1m 16s
Cost:
$0.004958
Provider:
Parasail

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The three deadbolts turned one after another, a familiar percussion. Then the door swung open, and there he stood. Lucien Moreau looked exactly as he always did Impeccable. Tailored charcoal suit, not a crease out of place. Ivory-handled cane in one hand, a paper bag in the other. Those eyes heterochromatic as ever, one amber burning, one void black. Four years older than the last time she'd seen him, but he wore it the way he wore his suits: beautifully, effortlessly. "I know your door's alarmed," he said. "I also know you disabled it last month after the incident with the Hellhound." A pause. "Smart. But careless." Rory didn't move from the doorway. "How do you know about the Hellhound?" "Information broker, remember?" The corner of his mouth twitched. "Also, I own the building." Of course he did. Should've known. She leaned against the doorframe, crossing her arms. The movement pulled her sleeve, exposing the small crescent scar on her left wrist. His gaze flickered to it, just for a second, then away. "This is a bad time," she said. "You haven't asked why I'm here." "Don't need to. You're here because you always show up when I start getting my life in order." She tilted her head. "It's your thing. Like a curse. A very expensive, very well-dressed curse." Something moved behind his eyes. Pain, maybe. Or recognition. "May I come in?" "Ptolemy hates strangers." "Your cat tolerates me." "How would you know?" "I visited. Twice. While you were working." Rory stared at him. Four months of silence, and he'd been visiting her cat. The absurdity of it sat between them like a third person. "Six months," she said. "What?" "It's been six months. Not four." She pushed off the doorframe. "You stopped answering my calls in June." Lucien's jaw tightened. "I was dealing with something." "You were dealing with something," she repeated flatly. "That's what you said the first time. And the second time. Every time." She stepped back from the doorway. "Fine. Come in. But I'm not making tea." He entered, and the flat seemed to shrink around him. Every surface covered with books, scrolls, research notes. Ptolemy, the tabby, watched from his perch on a stack of law textbooks, tail flicking slowly. Lucien set the paper bag on the kitchen counter. "I brought pastries. From that place you liked in Soho." "Luc." Her voice came out sharper than she intended. "What are you doing here?" He turned to face her. In the dim light of Eva's cramped flat, the contrast between his eyes seemed more pronounced. The amber one caught the lamp glow, warm as honey. The black one swallowed it whole. "The ward on Brick Lane," he said. "The one you've been building." Her stomach dropped. "How do you—" "Someone's been testing it. Three times this week." He took a step closer. "The last test was tonight. It nearly broke." Rory's arms dropped to her sides. "That's not possible. I anchored it to the curry shop's foundation. It's strong enough to hold back a— "Demon of the Third Circle? Yes. Which is exactly why I came." Another step. Too close. She could smell his cologne, something dark and woody, expensive. "Someone's probing your work, Rory. Someone who knows what they're doing." "Maybe it's just random supernatural activity. Brick Lane's a convergence point, everyone knows—" "Not random. Targeted." His voice dropped. "Your name was written in the testing glyphs." The room tilted. She put a hand on the nearest bookshelf to steady herself. "That's not possible. No one knows my real name." "I know your real name." He said it quietly, like a confession. "I've always known." The silence that followed was thick enough to choke on. "Those pastries," she finally said, "are from Pascal's. On Flawith Street." "Yes." "The one that closed down eight months ago." Lucien's expression didn't change, but something shifted in his posture. A slight tension in his shoulders. "I... wasn't aware." "Of course you weren't." She laughed, but there was no humor in it. "You were busy dealing with something." "This isn't about the pastries." "No." She moved past him, putting distance between them. "This is about you showing up after six months, telling me someone's targeting me, and expecting what? Gratitude? A thank-you card?" She turned. "What do you want, Luc?" The old nickname hung in the air. She hadn't meant to use it. He was quiet for a long moment. Then he crossed to the window, looking out at the neon glow of Brick Lane below, the curry shops and vintage stores and late-night kebab vans. His reflection in the glass looked almost human. Almost. "I wanted to see you," he said. "You've seen me. Now you can leave." "It's not that simple." "When is it ever simple with us?" She watched his reflection. "Tell me the truth. The real reason you're here." He turned. The lamp light caught his face, and for a moment she could see it the way she'd seen it that first night in Silas' bar two years ago: sharp angles, sharp mind, sharp tongue. The half-demon fixer who could get anything, know anything, for the right price. The one who looked at her like she was something worth seeing. "I heard you left him," he said. "Evan." The name hit her like cold water. She hadn't spoken about Evan in months. Hadn't let herself think about him, not really. The bruises had faded. The scars remained. "Eva helped me get out," she said carefully. "It's been handled." "I know it's been handled." Lucien's voice was tight. "I had someone watching. For your safety." "You had someone watching me?" "I wasn't—" He stopped. Started again. "I needed to know you were safe. That's all." "That's all," she echoed. "That's what you said the night you left, too. That's all, Rory. I just need time. That's all, Rory. I'll call you tomorrow." She stepped closer, close enough to see the slight dilation of his pupils, the way his breathing had changed. "Do you know what I did that night? After you didn't call? After you didn't answer any of my messages?" He said nothing. "I sat in this flat. With Eva. And I cried." Her voice stayed steady, though something in her chest cracked. "Not because of Evan. Not because of the ex who hit me, who controlled me, who made me feel worthless. I cried because you looked at me the way you did, and I thought, maybe. Maybe this is it. Maybe someone actually—" She stopped. Too much. Too honest. "Laisse-moi expliquer," he whispered. Let me explain. "Don't." She held up a hand. "Don't do that. Don't speak French to make me forgive you." "I'm not trying to—" He ran a hand through his slicked-back hair, disrupting the perfection. "I was offered a job. In Marseille. Something that could've helped me find my father. Something I've been looking for since I was nineteen." "So you left." "I was going to tell you. The night before I—" "The night before you what?" She felt the old anger rising, familiar and sharp. "The night before you decided I wasn't worth staying for?" "I was going to ask you to come with me." The words fell into the space between them like stones into still water. Rory's mouth opened. Closed. The anger faltered, replaced by something more dangerous. Hope. "You're lying." "I never lied to you." His voice was rough. "I was a coward. That's different. I thought if I asked, you'd say no. And if you said no, I'd have to live with that. So I just... left. Like my father left my mother. Like every male figure in my goddamn bloodline." "That's not—" She stopped. "That's not an excuse." "No." He moved closer, and this time she didn't step back. "It's not. I know that. I've known it for six months. Every day I've known it, and every day I didn't call because I didn't know how to say—" "Say what?" "I'm not good at this." His hand lifted, hovered near her face, then dropped. "Feelings. Vulnerability. All of it. I'm a fixer, Rory. I solve problems. But you were never a problem. You were—" He exhaled sharply. "You were everything I didn't know I was allowed to want." Ptolemy jumped down from his perch, trotting over to rub against Lucien's legs. The traitor. " Your cat likes me," Lucien said, almost desperately. "He has poor taste." "As do I. In everything except you." She laughed despite herself. A real laugh, short and surprised. "That was terrible." "I know." He smiled, and it transformed his face. Made him look younger. Human. "I'm out of practice. Been busy being miserable." "Misery looks good on you." "Liar." He reached out, and this time his hand found hers. Warm. Solid. Real. "You always were a terrible liar." "I learned from the best." "I'm not the best." "No," she agreed, lacing her fingers through his. "You're not. You're actually terrible at communication and showing up on time and calling when you say you will." "I'll do better." "You'll try." "Same thing." She looked up at him, at those impossible eyes, and felt the old wound crack open further. Not healed. Not forgotten. But maybe, just maybe, something that could be worked with. "The ward," she said. "The glyphs with my name." "I'll help you figure out who's behind it." "And the job in Marseille?" "Passed. I turned it down three months ago." "Why?" "Because I kept thinking about how you'd look in the Mediterranean sunlight." He shrugged, a gesture so uncharacteristic it almost made her laugh. "Seemed important at the time." "You're ridiculous." "I know." She pulled his hand up, examined the ivory handle of his cane. "This is new." "Old family heirloom. I've had it for years." "Liar." He smiled again, that dangerous smile that had gotten her into this mess in the first place. "I'm out of practice." The buzzer from downstairs shattered the moment. Eva's voice crackled through the intercom. "Rory? I'm bringing curry and I swear to God if you're hooking up in my flat again—" "Again?" Lucien raised an eyebrow. "She exaggerates." Rory dropped his hand, stepping back. Her heart was racing. "We're not—she's—" "I'll bring the curry up," Eva's voice continued. "And I'll be using my key, so maybe put on some clothes." The line went dead. Rory pinched the bridge of her nose. "This is a disaster." "It's not ideal," Lucien agreed. "You can't stay." "I know." "But—" She looked at him, at the hope he was trying so hard to hide. "We should talk. About Marseille. About six months ago. About... all of it." "I know a place. Quiet. Good wine." "This is London. Every place is quiet if you know where to look." "True." He picked up the paper bag of pastries, held it out to her. "These are still good, by the way. Pascal's might be closed, but the chef owes me a favour." "You are ridiculous," she said again, but she took the bag. Their fingers brushed. The contact sent heat up her arm. The knock on the door announced Eva's arrival. Three deadbolts, one after another. The door swung open to reveal Eva, takeaway in hand, eyes narrowing at the scene before her. "Well," she said slowly. "This is interesting." "It's not what it looks like," Rory said. "It looks like your ex is back, and you're both looking at each other like teenagers." "We're not—" "Hi," Lucien said calmly. "I'm Lucien." "I know who you are." Eva pushed past them, setting the curry on the counter. "I've seen the way Rory mopes when she thinks no one's looking. Which, by the way, is pathetic and very obvious." She turned, pointing a finger at Lucien. "You hurt her again, and I don't care how many languages you speak or how many supernatural favours you can call in. I'll find a way to end you." "Noted," Lucien said. "Eva—" Rory started. "No, she's right." Lucien met Eva's gaze steadily. "If I hurt her again, I deserve whatever comes." Eva studied him for a long moment. Then she nodded once, sharply. "Good. Now someone explain what's happening with the ward, because I've been getting weird vibes from the hallway all week." Rory looked at Lucien. He looked back, that half-smile on his face. "Get a pen," he said. "This might take a while." It was going to take more than a while. There was six months of silence to break, and wounds that wouldn't heal overnight, and a mystery with her name written in dangerous places. But for the first time in months, Rory felt like she wasn't alone in it. She got a pen.
created_at"2026-02-19T12:43:47.563Z" 2/19/2026, 12:43:47 PM
model"minimax/minimax-m2.5-20260211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency533
moderation_latency(null)
generation_time75565
tokens_prompt4556
tokens_completion3668
native_tokens_prompt4038
native_tokens_completion3122
native_tokens_completion_images(null)
native_tokens_reasoning394
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"
usage0.0049578
router(null)
provider_responses
0
endpoint_id"40b0bd20-07e6-4f11-968d-4a2539b00f00"
id"chatcmpl-a9ea3be49b06a709"
is_byokfalse
latency532
model_permaslug"minimax/minimax-m2.5-20260211"
provider_name"Parasail"
status200
api_type"completions"
id"gen-1771505027-QTEbVZY4qjzmlEzjM5A2"
upstream_id"chatcmpl-a9ea3be49b06a709"
total_cost0.0049578
cache_discount(null)
upstream_inference_cost0
provider_name"Parasail"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags74
adverbTagCount7
adverbTags
0"she repeated flatly [flatly]"
1"She stepped back [back]"
2"she said carefully [carefully]"
3"He smiled again [again]"
4"she said again [again]"
5"she said slowly [slowly]"
6"Lucien said calmly [calmly]"
dialogueSentences152
tagDensity0.487
leniency0.974
rawRatio0.095
effectiveRatio0.092
78.91% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2134
totalAiIsmAdverbs9
found
0
adverb"very"
count3
1
adverb"slowly"
count2
2
adverb"really"
count1
3
adverb"carefully"
count1
4
adverb"sharply"
count2
highlights
0"very"
1"slowly"
2"really"
3"carefully"
4"sharply"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
69.54% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2134
totalAiIsms13
found
0
word"familiar"
count2
1
word"flickered"
count1
2
word"silence"
count3
3
word"stomach"
count1
4
word"tension"
count1
5
word"echoed"
count1
6
word"disrupting"
count1
7
word"shattered"
count1
8
word"eyebrow"
count1
9
word"racing"
count1
highlights
0"familiar"
1"flickered"
2"silence"
3"stomach"
4"tension"
5"echoed"
6"disrupting"
7"shattered"
8"eyebrow"
9"racing"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"stomach dropped/sank"
count1
1
label"hung in the air"
count1
highlights
0"stomach dropped"
1"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences170
matches(empty)
84.03% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount6
hedgeCount1
narrationSentences170
filterMatches
0"think"
1"know"
2"feel"
3"look"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences228
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen62
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2126
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions51
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions61
wordCount1318
uniqueNames21
maxNameDensity1.06
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Eva"
discoveredNames
Moreau1
Impeccable1
Rory14
Lucien13
Eva9
Brick2
Lane2
Flawith1
Gratitude1
Evan2
Don1
French1
Marseille2
Vulnerability1
Ptolemy2
Been1
You2
God1
Quiet1
Pascal1
Which2
persons
0"Moreau"
1"Rory"
2"Lucien"
3"Eva"
4"Flawith"
5"Evan"
6"Been"
7"You"
8"Pascal"
places
0"Brick"
1"Lane"
2"Marseille"
3"God"
globalScore0.969
windowScore0.667
92.53% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount2
matches
0"seemed more pronounced"
1"felt like she wasn't alone in it"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2126
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences228
matches
0"did that night"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs130
mean16.35
std15.09
cv0.923
sampleLengths
019
162
226
313
414
539
67
76
834
913
103
114
124
137
1425
154
161
1718
188
1935
2034
2119
2214
2337
2412
256
2621
2724
2837
2913
3014
3123
3215
3310
3411
351
368
3719
3819
395
4037
4113
4242
437
447
454
4620
4761
488
4929
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences170
matches
0"was written"
1"was allowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs267
matches
0"was racing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences228
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount952
adjectiveStacks0
stackExamples(empty)
adverbCount35
adverbRatio0.03676470588235294
lyAdverbCount8
lyAdverbRatio0.008403361344537815
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences228
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences228
mean9.32
std8.36
cv0.896
sampleLengths
010
19
29
39
411
511
622
77
816
93
106
117
129
135
144
152
168
1714
1811
197
206
2122
2212
235
242
252
264
273
284
294
307
314
3210
3311
344
351
3611
377
383
395
408
4119
428
4310
448
4516
469
4710
489
495
53.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3684210526315789
totalSentences228
uniqueOpeners84
74.07% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences135
matches
0"Then the door swung open,"
1"Of course he did."
2"Maybe this is it."
ratio0.022
51.11% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount57
totalSentences135
matches
0"She leaned against the doorframe,"
1"His gaze flickered to it,"
2"She tilted her head"
3"She pushed off the doorframe"
4"she repeated flatly"
5"She stepped back from the"
6"He entered, and the flat"
7"Her voice came out sharper"
8"He turned to face her."
9"Her stomach dropped."
10"He took a step closer"
11"He said it quietly, like"
12"she finally said"
13"She laughed, but there was"
14"She moved past him, putting"
15"He was quiet for a"
16"She watched his reflection"
17"He turned. The lamp light"
18"she said carefully"
19"He stopped. Started again"
ratio0.422
60.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount108
totalSentences135
matches
0"The three deadbolts turned one"
1"Lucien Moreau looked exactly as"
2"Those eyes heterochromatic as ever,"
3"Rory didn't move from the"
4"The corner of his mouth"
5"She leaned against the doorframe,"
6"The movement pulled her sleeve,"
7"His gaze flickered to it,"
8"She tilted her head"
9"Something moved behind his eyes."
10"Rory stared at him."
11"The absurdity of it sat"
12"She pushed off the doorframe"
13"Lucien's jaw tightened."
14"she repeated flatly"
15"She stepped back from the"
16"He entered, and the flat"
17"Every surface covered with books,"
18"Ptolemy, the tabby, watched from"
19"Lucien set the paper bag"
ratio0.8
74.07% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences135
matches
0"Now you can"
1"Now someone explain what's happening"
ratio0.015
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences27
technicalSentenceCount1
matches
0"She looked up at him, at those impossible eyes, and felt the old wound crack open further. Not healed. Not forgotten. But maybe, just maybe, something that coul…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags67
uselessAdditionCount1
matches
0"He shrugged, a gesture so uncharacteristic it almost made her laugh"
84.21% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags27
fancyCount10
fancyTags
0"she repeated flatly (repeat)"
1"I probing (probe)"
2"She laughed (laugh)"
3"he whispered (whisper)"
4"She laughed (laugh)"
5"she agreed (agree)"
6"I swear (swear)"
7"Eva's voice continued (continue)"
8"Lucien agreed (agree)"
9"someone explain (explain)"
dialogueSentences152
tagDensity0.178
leniency0.355
rawRatio0.37
effectiveRatio0.132
88.5109%