Run: 2026-02-19-01KHTYVRQ505Y4FPKWT2T3SGCE

Run Details

Duration:
21.2s
Cost:
$0.006858
Provider:
Novita

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The air changed first. It grew thick and sweet, heavy with the scent of night-blooming jasmine and damp, rich earth. Aurora Carter pushed past the last of the ancient, moss-covered standing stones, the rough bark snagging at her sleeve, and stepped into a world that should not exist. A soft, violet twilight bathed a circular clearing, though the sun had been setting in fiery orange hues only moments before in Richmond Park. Here, there was no sun, only a gentle, luminescent light that seemed to emanate from the very air. Wildflowers, impossible and vibrant, carpeted the ground in swirls of sapphire blue and emerald green, their petals tipped with silver that glittered like frost. In the centre of the grove, a magnificent, weeping willow stood, its long, silver-green leaves trailing in a non-existent breeze, making no sound at all. "Welcome," a voice whispered, seeming to come from every direction at once. It was like the rustle of leaves and the murmur of a distant stream woven together. Isolde Varga stood beneath the willow, her silver hair a river of moonlight down her back. She wore a simple, dark grey dress, and her pale lavender eyes held the wisdom of centuries. She left no impression on the grass, no indent from her bare feet. She simply was. Rory’s companion, Nyx, shifted at her side. Their form wavered, a humanoid silhouette of living shadow that drank the ambient light. Their violet eyes, faint points of illumination in the darkness of their being, fixed on the Half-Fae. The air around them grew colder, a pocket of winter in the perpetual spring of the grove. "You brought a Shade," Isolde stated. Her voice held no accusation, only a flat, curious observation. "They are not fond of this place. The life here… it disagrees with them." Nyx’s voice was a dry whisper, like dead leaves skittering across pavement. "The feeling is mutual. This place is too loud with living." Rory placed a hand on the solidified arm of Nyx’s shadow-form. The touch was cool, like polished stone. "They're with me. We need your help, Isolde." Isolde glided closer, her movements fluid and unnaturally graceful. She did not walk so much as flow across the ground. "Help is a coin with two faces. The side you seek may not be the one you receive." Her gaze dropped to Rory’s chest, to the thin silver chain peeking from her collar. "The Heartstone grows warm. It knows where you are. And it knows what you are running from." Rory’s fingers instinctively went to the pendant, the deep crimson gemstone pulsing with a faint, reassuring heat against her skin. "It's been acting up more. Pulling me." "It pulls you toward a tear," Isolde said, circling them slowly. "A weakness in the Veil. The winter solstice approaches. The Boundary thins. The scent of Dymas is on the wind." The name hung in the air, heavy and cloying. Rory could almost taste it; overripe fruit, spiced meat, and the cloying sweetness of decay. The pleasant scent of the grove soured for a moment. "The Gluttony realm. What does it want with London?" "What does any hunger want?" Isolde countered, stopping before Rory. She reached out a slender hand, her fingers hovering just above the Fae-forged dagger tucked into Rory’s belt. The moonsilver blade shimmered, its own cold light a stark contrast to the grove’s gentle glow. "You carry a sliver of the Fae Courts and a shard of Hel. You walk the line, Aurora Carter. A perilous path." "I didn't ask for any of this," Rory said, her voice tighter than she intended. The cool-headed logic she prided herself on felt strained here, in this place where the rules of the world were merely suggestions. "No," Isolde agreed, a faint, sad smile touching her lips. "You were chosen. Gifted. Now, you must learn to wield those gifts, or they will become your shackles." She turned and gestured toward the silver willow. "Come. There is something you must see." Rory exchanged a glance with Nyx, whose shadowy form seemed to contract, becoming denser, more solid. A silent warning. But what choice did they have? The pendant was a lodestone, and the pull was growing stronger every day. She followed Isolde, Nyx a dark, silent presence at her heels. As they approached the willow, Rory noticed something strange about the tree. The bark wasn't bark at all, but a smooth, pearlescent substance, like the inside of an oyster shell. The leaves, when she got close enough, were not leaves but thin, crystalline structures that chimed with a sound like tiny bells when they moved, though they never seemed to move on their own. Isolde placed her palm against the trunk. The tree responded, the silvery bark glowing with a soft, white light. A section of the trunk dissolved, not falling away, but simply ceasing to be, revealing a dark opening that led down into the earth. A set of stone steps, slick with glowing moss, spiralled into the gloom. "The heart of the grove," Isolde said, her voice echoing slightly in the new space. "Time flows differently here. What feels like an hour below could be a minute, or a day, when you surface. Be mindful." Rory peered into the opening. A cool, earthy air rose from below, carrying the scent of petrichor and something else, something ancient and mineral. The glowing moss cast a shifting, green light on the stones. "What's down there?" "A reflection," Isolde said cryptically. "A truth the world above has forgotten." Without another word, she stepped into the opening and began to descend. Rory hesitated for only a second before following, her hand resting on the hilt of the Fae blade. The metal was cold, a familiar anchor in the swirling strangeness. Nyx flowed after her, their shadowy form seeming to absorb the faint light from the moss, leaving a patch of deeper darkness in their wake. The stairs were narrow and wound endlessly downward. The air grew cooler, the scent of earth stronger. The only sound was the soft tread of Isolde’s silent feet and the faint scuff of Rory’s boots on the damp stone. The walls were no longer simple earth, but a complex tapestry of interwoven roots, some as thick as Rory’s arm, glowing with their own soft, internal light in shades of blue and gold. They pulsed gently, like a slow, sleeping heartbeat. Deeper they went, into the quiet core of the world. The pressure changed, a subtle weight settling in Rory’s ears. The silence became a presence, so profound it felt like a physical thing. This was a place untouched by the noise of the city, a place that had existed long before the first brick of London was ever laid. Finally, the stairs opened into a vast, circular cavern. The ceiling was lost in darkness, but the floor was a pool of still, black water, so perfect it mirrored the glowing roots above like a starry sky. In the exact centre of the pool, a single, pure white lotus flower floated, its petals unfolding with impossible slowness. Isolde stood at the edge of the water, her reflection not her own, but that of a tall, regal woman with eyes like burning embers. "The Veil is not a wall, Aurora," Isolde said, her voice hushed and reverent. "It is a reflection. A delicate balance. What happens on one side… echoes on the other." Rory stared into the water. She saw her own reflection, clear as day. But then, it shimmered. The image changed. She saw a street she recognised, near her flat in London. But the sky was a sick, amber colour, the colour of a bruise. The buildings were warped, their windows like hungry mouths. And from a shadowed alleyway, something was watching. Something with too many limbs and an appetite that gnawed at the edges of reality itself. The Heartstone pendant against her chest flared with sudden, intense heat. The lotus flower in the centre of the pool trembled, its petals suddenly snapping shut. A single drop of water, black as ink, fell from a root high above and struck the pool's surface. The reflection shattered. The water churned, no longer a perfect mirror but a churning vortex of blackness. From its depths, a low growl rumbled, a sound of immense hunger and ancient malice. The air grew thick, the scent of Dymas overwhelming the clean smell of the earth. The cavern walls began to shake, dust and glowing moss raining down.
created_at"2026-02-19T12:44:10.349Z" 2/19/2026, 12:44:10 PM
model"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency963
moderation_latency(null)
generation_time21091
tokens_prompt5338
tokens_completion2111
native_tokens_prompt4927
native_tokens_completion1887
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached7
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"
usage0.00685817
router(null)
provider_responses
0
endpoint_id"562fe77f-c92f-4556-b43b-ea7da6891b6a"
id"523e76c6942e9ec410a0b2e12952cc51"
is_byokfalse
latency963
model_permaslug"z-ai/glm-4.6" 4/6/2001, 12:00:00 AM
provider_name"Novita"
status200
api_type"completions"
id"gen-1771505050-nJ7KeFnGv7hjSyMHS8M3"
upstream_id"523e76c6942e9ec410a0b2e12952cc51"
total_cost0.00685817
cache_discount0.00000308
upstream_inference_cost0
provider_name"Novita"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount1
adverbTags
0"Isolde said cryptically [cryptically]"
dialogueSentences24
tagDensity0.458
leniency0.917
rawRatio0.091
effectiveRatio0.083
82.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1429
totalAiIsmAdverbs5
found
0
adverb"very"
count1
1
adverb"slowly"
count1
2
adverb"slightly"
count1
3
adverb"gently"
count1
4
adverb"suddenly"
count1
highlights
0"very"
1"slowly"
2"slightly"
3"gently"
4"suddenly"
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)
19.52% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1429
totalAiIsms23
found
0
word"wavered"
count1
1
word"whisper"
count1
2
word"shimmered"
count2
3
word"stark"
count1
4
word"crystalline"
count1
5
word"gloom"
count1
6
word"echoing"
count1
7
word"familiar"
count1
8
word"complex"
count1
9
word"tapestry"
count1
10
word"pulsed"
count1
11
word"weight"
count1
12
word"silence"
count1
13
word"profound"
count1
14
word"perfect"
count2
15
word"echoes"
count1
16
word"trembled"
count1
17
word"shattered"
count1
18
word"churned"
count1
19
word"churning"
count1
20
word"depths"
count1
highlights
0"wavered"
1"whisper"
2"shimmered"
3"stark"
4"crystalline"
5"gloom"
6"echoing"
7"familiar"
8"complex"
9"tapestry"
10"pulsed"
11"weight"
12"silence"
13"profound"
14"perfect"
15"echoes"
16"trembled"
17"shattered"
18"churned"
19"churning"
20"depths"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences89
matches(empty)
62.60% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences89
filterMatches(empty)
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)
analyzedSentences102
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1421
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions48
wordCount1184
uniqueNames13
maxNameDensity1.35
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Rory"
discoveredNames
Carter1
Richmond1
Park1
Varga1
Nyx6
Half-Fae1
Rory16
Fae-forged1
Isolde13
Fae3
London2
Heartstone1
Dymas1
persons
0"Carter"
1"Varga"
2"Nyx"
3"Rory"
4"Isolde"
5"Dymas"
places
0"Richmond"
1"Park"
2"London"
globalScore0.824
windowScore0.333
85.06% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount2
matches
0"light that seemed to emanate from the very air"
1"felt like a physical thing"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords2.111
wordCount1421
matches
0"not falling away, but simply ceasing to be, revealing a dark opening"
1"not her own, but"
2"no longer a perfect mirror but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences102
matches(empty)
70.75% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs30
mean47.37
std18.83
cv0.398
sampleLengths
048
191
228
349
455
530
623
726
870
927
1031
1143
1266
1337
1443
1549
1664
1756
1837
1938
2012
2166
2280
2359
2457
2525
2630
2777
2845
2959
93.44% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences89
matches
0"being, fixed"
1"was lost"
2"were warped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs179
matches
0"was watching"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences102
ratio0.01
matches
0"Rory could almost taste it; overripe fruit, spiced meat, and the cloying sweetness of decay."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1192
adjectiveStacks2
stackExamples
0"long, silver-green leaves"
1"single, pure white lotus"
adverbCount45
adverbRatio0.037751677852348994
lyAdverbCount17
lyAdverbRatio0.014261744966442953
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences102
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences102
mean13.93
std7.01
cv0.503
sampleLengths
04
116
228
324
418
524
625
712
816
916
1017
1113
123
137
1414
1517
1617
176
1810
1914
2012
2111
2211
237
248
259
2611
2733
2817
2920
307
3111
3220
339
3415
3510
369
3710
3818
3916
4022
4115
4222
4310
4426
457
4616
473
486
4913
35.95% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.30392156862745096
totalSentences102
uniqueOpeners31
37.88% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences88
matches
0"Finally, the stairs opened into"
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount16
totalSentences88
matches
0"It grew thick and sweet,"
1"It was like the rustle"
2"She wore a simple, dark"
3"She left no impression on"
4"She simply was."
5"Their form wavered, a humanoid"
6"Their violet eyes, faint points"
7"Her voice held no accusation,"
8"She did not walk so"
9"Her gaze dropped to Rory’s"
10"She reached out a slender"
11"She turned and gestured toward"
12"She followed Isolde, Nyx a"
13"They pulsed gently, like a"
14"She saw her own reflection,"
15"She saw a street she"
ratio0.182
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount77
totalSentences88
matches
0"The air changed first."
1"It grew thick and sweet,"
2"Aurora Carter pushed past the"
3"A soft, violet twilight bathed"
4"Here, there was no sun,"
5"Wildflowers, impossible and vibrant, carpeted"
6"a voice whispered, seeming to"
7"It was like the rustle"
8"Isolde Varga stood beneath the"
9"She wore a simple, dark"
10"She left no impression on"
11"She simply was."
12"Rory’s companion, Nyx, shifted at"
13"Their form wavered, a humanoid"
14"Their violet eyes, faint points"
15"The air around them grew"
16"Her voice held no accusation,"
17"Nyx’s voice was a dry"
18"Rory placed a hand on"
19"The touch was cool, like"
ratio0.875
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences88
matches(empty)
ratio0
80.20% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences57
technicalSentenceCount5
matches
0"Aurora Carter pushed past the last of the ancient, moss-covered standing stones, the rough bark snagging at her sleeve, and stepped into a world that should not…"
1"Wildflowers, impossible and vibrant, carpeted the ground in swirls of sapphire blue and emerald green, their petals tipped with silver that glittered like frost…"
2"Their form wavered, a humanoid silhouette of living shadow that drank the ambient light."
3"The leaves, when she got close enough, were not leaves but thin, crystalline structures that chimed with a sound like tiny bells when they moved, though they ne…"
4"Rory hesitated for only a second before following, her hand resting on the hilt of the Fae blade."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount3
matches
0"a voice whispered, seeming to come from every direction at once"
1"Rory said, her voice tighter than she intended"
2"Isolde said, her voice echoing slightly in the new space"
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"a voice whispered (whisper)"
1"Isolde stated (state)"
2"Isolde agreed (agree)"
dialogueSentences24
tagDensity0.333
leniency0.667
rawRatio0.375
effectiveRatio0.25
71.2245%