Run: 2026-02-20-01KHY87TCRG60FHS67E2X6BRSV

Run Details

Duration:
29.4s
Cost:
$0.001442
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <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> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The bite of London’s November air sharpens as Aurora pushes through a curtain of ivy. The path behind her—familiar from three days of maps and half-digested folklore—vanishes as the leaves grow thick, as if the trees themselves are exhaling. She pauses, palm flat against a gnarled trunk, and fumbles for the pendant. The silver chain digs into her wrist, the crescent scar stinging where the metal presses. The Heartstone pulses, a hot throbb like a thumb stitch-wound under her shirt. *Here*, it says. *You’re close*. The grove hits her like a wave. She steps into it. Richmond Park shouldn’t have a clearing this size. The map had shown a blotch of green, a “potential interest point,” but no contour lines, no compass rose strong enough to split the smog. Now, trees part in a perfect circle, their branches high enough to brush the stars. The air smells of wild thyme and something coppery, like old blood. The standing stones are older than the city—their edges are smooth, rounded by time, but the carvings haven’t eroded. Loops and lines, maybe runes, chiseled deep enough to hold moisture. “Can’t be,” she mutters, throat tight. Eva’s voice echoes in her skull: *The grove doesn’t let you find it twice. It takes what it wants*. Aurora had laughed then, packing her bag with a flashlight and a trowel, but now her hand trembles. The pendant’s pulse quickens. *Too fast*, she thinks. *Too eager*. A leaf falls. Doesn’t rustle. Doesn’t flutter. It drops straight down, landing with a *plink* on the moss. Aurora spins. The stones are the same. The clearing is the same. But where there should be the distant hoot of an owl, a dog bark, a car engine, there’s nothing. Not even the hum of the city. “Hello?” Her voice cracks. She clears her throat. “Is someone there?” Silence. She takes a step toward the center, the grass soft under her sneakers. The pendant burns. *Close*. Closer than the park map had suggested. Closer than logic allows. The trees seem to lean, their shadows stretching like fingers. She squints at the runes. A loop, a line—*Hel*, maybe? The Fae realm’s border. Aurora had dived into old texts after Evan vanished, after the calls from the number that wasn’t his, the texts that started with *You shouldn’t have the stone*. Eva had warned her about the grove, about Fae tricks. *They twist your memories. Your desires. They make you want what you can’t have*. Aurora’s hand strays to the scar. *Don’t be stupid*. She’s here for answers. For closure. For whatever’s taking her friend. A twig snaps. Not behind her. To her left. Her breath hitches. She didn’t hear anyone walking. The park’s paths are graveled, leaf-littered—*sounds carry*. This was a soft, deliberate break. Like a finger brushing a branch, not a foot. She reaches for the flashlight in her jacket. It’s warm, too, the plastic softening in her hand. The pendant pulses again, a sharp *throb* that makes her teeth ache. *Too close*. “Eva,” she says, louder. “If this is a joke—” Something moves at the edge of her vision. A flash of white, a flutter of fabric. She spins. Nothing. Just the stones, the moss, the silence. “Christ,” she mutters, but her heart’s already racing. She checks her phone. No signal. Of course not. The grove cuts off all tech. Her watch, too—she unclips it, sets it on a stone. The hands freeze. 8:17 PM. Three minutes after she stepped in. *Time moves differently*. Eva had written that in the margin of her notes: *An hour in, a day out. Don’t stay past dark*. Dark is now. Aurora’s back hits a stone. Cold seeps through her jacket. She fumbles for the pendant again, pressing it to her palm. The burn spreads, a hot line up her arm. *Hel portal*, the codex had said. *Pulses with warmth when near*. She’d laughed at the crown jewel of Fae lore, but now her vision blurs. “Hello?” The word comes out thinner this time. “Who’s there?” The stones whisper. Not with sound, but with the press of air against her eardrums. It’s a tongue she doesn’t know, old and gnarled, like roots curling in her skull. The runes glow, faint at first, then bright, red as the pendant’s stone. Aurora staggers back. The stone beneath her foot shifts—*slides*. She catches herself on a trunk, her free hand slamming into something soft. A flower. But the park’s flowers have died weeks ago. This one is blue, petals velvety, center glinting like a gem. She plucks it, and the stem is *warm*, as if it’s been sitting in sunlight. “Stop,” she whispers. Her voice is a plea, not a demand. “I don’t want—” A shadow detaches itself from the trees. It’s tall, thin, shoulders hunched. Its face is a blur, features melting like wax, but the eyes—*the eyes* are blue. Aurora freezes. Her own eyes are blue. Bright, bright blue. The shadow takes a step. The pendant explodes in heat, searing through her shirt, through her skin. She drops it, clawing at her chest, but there’s nothing there—just a red mark, a heartbeat’s shape, glowing. “Rory,” the shadow says. Her name. Not “Aurora,” not “Carter.” *Rory*. The nickname Evans used to mock, the one Eva still calls her when she’s drunk. “Evan?” She takes a step forward. The shadow doesn’t move. “Is that you? Where have you—” “*I* am not he,” the shadow says. Its voice is a chorus, a woman and a man and a child, all speaking at once. “He *left*.” Aurora’s throat tightens. “Left? What do you mean—” “*You* left *him*,” the shadow corrects. It takes another step. The ground trembles. “When the stone burned. When the voices started. You ran. *He* stayed.” “I didn’t—” “*You did*.” The shadow leans in. Now she can see its face clearly: not Evan, but a mirror. A version of her, with her blue eyes and black hair, but her skin is as gray as ash, her lips split in a grin that doesn’t reach her eyes. “You ran to get *help*. To fix it. But the grove *remembers*. It *hungers* for what you’ve buried.” Aurora stumbles back, tripping over a root. The grass cuts her palm. “I didn’t bury anything—” “*He did*.” The shadow’s hand reaches out. Its skin is cold, clammy, like a dead fish. “*You* gave him the stone. To calm the voices. To make the pain stop. But the stone doesn’t *calm*. It *feeds*. And he… he couldn’t stop feeding.” “Evan’s dead,” she says, but it comes out hoarse. She remembers the texts, the way his messages got shorter, more frantic. *“It’s not real. It’s never real.”* *“They want it back. The stone.”* “*No*.” The shadow laughs. It’s a sound like a door creaking, like nails on a chalkboard. “He *became* it. A vessel. A *pet*.” Aurora’s vision whites out. She tastes blood. The pendant pulses again, a *scream* in her veins. The runes on the stones flare, casting blue light over the shadow. For a second, she sees it—Evan, his eyes black, his skin stretched tight over bones, his mouth splitting into a grin that goes too far. “Help me,” she says, but it’s not to the shadow. It’s to the memory of her father, of Jennifer’s voice, of Eva’s text: *Come back. I’ll protect you*. The shadow lunges. Aurora runs. She dives behind a stone, rolling to her feet. The shadow is on her, cold breath on her neck, but she swings the trowel she’s been clutching. It connects with something—soft, wet—and the shadow screeches. It staggers back, its arm gone, a mass of rotting flesh where it used to be. “*You* can’t kill it,” the shadow hisses. It regenerates, the arm knitting itself back together, blood oozing from the wound. “The stone will *consume* you. It will make you hungry, Rory. Hungry for what’s *lost*.” Aurora backs away, tripping over a root. The shadow advances, slow, deliberate. The pendant burns through her shirt, her chest, her ribs. She can see it: a red core, pulsing, *hungry*. “Flashlight,” she gasps. Her hand finds it. She flicks it on. The beam cuts through the dark, hitting the shadow square in the face. It howls, rearing back. For a second, its face is human—Evan’s face, tears streaking his cheeks, his mouth moving in a silent *help*. Then it’s gone. Just a pile of rags, a single blue flower, and the smell of rot. Aurora collapses. The flashlight slips from her hand, rolling into the moss. The pendant is hot, scalding, as if it’s burning through her skin, through her organs, through her *soul*. The ground shakes. Not the tremors from the shadow. A deeper, slower shake, like the world is breathing. Aurora looks up. The stone circle has split open. Cracks run through the ancient rocks, glowing red as the pendant. From the gap seeps a cold, thick mist, smelling of brine and regret. The trees bend, their roots clawing at the ground, as if the grove itself is waking. “*You came*,” a voice says, inside her head, not the shadow’s, but her own. It’s Evan’s voice, soft, sad. “I’m glad you came.” Aurora fumbles for the pendant, pressing it to her chest. The mist rolls toward her, wrapping around her legs, her waist, her neck. It’s cold, but not unpleasant—like a hug from someone who’s been waiting for years. “*The stone is yours now*,” Evan says. “You can have it all. The voices, the hunger, the *truth*. But you have to stay. To *keep* it.” Pain erupts in her skull. Images flash: Evan, his eyes black, his hand around her throat, the stone in her palm. *“It’s not real,”* he’d said, but it was. It *had* been. “No,” she says, but it’s a whisper. The mist wraps tighter, pulling her toward the crack in the stones. “*Yes*,” Evan says. “You *have* to. Or we’ll all be lost.” Aurora reaches for the flashlight. It’s beside her, the beam pointing at the crack. She flicks it on. The light hits the pendant. The Heartstone glows. Not with warmth, but with *fire*. Red, bright, searing. It burns through her shirt, her skin, her muscle. She screams, but no sound comes out. The mist hisses, retreating. The ground shakes again. The stones crack wider. Beyond the gap, Aurora sees something—*something*—a world of shadows and laughter, of voices calling her name. Evan’s name. “*No*,” she gasps, and this time her voice is loud, clear. She grabs the pendant, yanks it free. The burn stops. The stone is still red, still warm, but it doesn’t hurt. The shadows recoil. The trees still. The mist fades. Aurora stands. Her watch—she’d forgotten—clicks to life. 8:22 PM. Five minutes in. She turns. The circle is whole again. The standing stones are silent. The blue flower is gone. Behind her, the ivy thickens, sealing the grove. Aurora runs. She doesn’t look back. She runs until her lungs burn, until her legs give out, until she collapses in the park, gasping, the pendant still clutched in her hand. Somewhere, a dog barks. A car passes. The world is normal again. But Aurora knows. She’s not. Her chest hurts. The scar on her wrist itches. And in the dark, she swears she can hear the voices again. Whispering. Calling. For her. To stay. To *come back*. The pendant glows. And Aurora knows she will. She just doesn’t know when. And that, more than anything, terrifies her.
created_at"2026-02-20T19:25:45.777Z" 2/20/2026, 7:25:45 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency595
moderation_latency(null)
generation_time29348
tokens_prompt4560
tokens_completion3888
native_tokens_prompt4498
native_tokens_completion3682
native_tokens_completion_images(null)
native_tokens_reasoning731
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"
usage0.00144195
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"021771615545900e1f2c28e220bf76d8a56e2a46eaa08e9d5361c"
is_byokfalse
latency415
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771615545-LceglilLLgmNehjWiy4G"
upstream_id"021771615545900e1f2c28e220bf76d8a56e2a46eaa08e9d5361c"
total_cost0.00144195
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags21
adverbTagCount0
adverbTags(empty)
dialogueSentences43
tagDensity0.488
leniency0.977
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1926
totalAiIsmAdverbs0
found(empty)
highlights(empty)
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Evans"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
58.46% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1926
totalAiIsms16
found
0
word"familiar"
count1
1
word"potential"
count1
2
word"perfect"
count1
3
word"echoes"
count1
4
word"pulse"
count1
5
word"silence"
count2
6
word"throb"
count1
7
word"racing"
count1
8
word"warmth"
count2
9
word"whisper"
count2
10
word"glinting"
count1
11
word"searing"
count2
highlights
0"familiar"
1"potential"
2"perfect"
3"echoes"
4"pulse"
5"silence"
6"throb"
7"racing"
8"warmth"
9"whisper"
10"glinting"
11"searing"
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
emotionTells2
narrationSentences239
matches
0"s with warmth"
1"t with warmth"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences239
filterMatches
0"watch"
hedgeMatches
0"seem to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences257
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
56.62% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans60
markdownWords137
totalWords1911
ratio0.072
matches
0"Here"
1"You’re close"
2"The grove doesn’t let you find it twice. It takes what it wants"
3"Too fast"
4"Too eager"
5"plink"
6"Close"
7"Hel"
8"You shouldn’t have the stone"
9"They twist your memories. Your desires. They make you want what you can’t have"
10"Don’t be stupid"
11"sounds carry"
12"throb"
13"Too close"
14"Time moves differently"
15"An hour in, a day out. Don’t stay past dark"
16"Hel portal"
17"Pulses with warmth when near"
18"slides"
19"warm"
20"the eyes"
21"Rory"
22"I"
23"left"
24"You"
25"him"
26"He"
27"You did"
28"help"
29"remembers"
30"hungers"
31"He did"
32"You"
33"calm"
34"feeds"
35"“It’s not real. It’s never real.”"
36"“They want it back. The stone.”"
37"No"
38"became"
39"pet"
40"scream"
41"Come back. I’ll protect you"
42"You"
43"consume"
44"lost"
45"hungry"
46"help"
47"soul"
48"You came"
49"The stone is yours now"
50"truth"
51"keep"
52"“It’s not real,”"
53"had"
54"Yes"
55"have"
56"fire"
57"something"
58"No"
59"come back"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions2
matches
0"*Here*, it says."
1"And in the dark, she swears she can hear the voices again."
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1709
uniqueNames11
maxNameDensity1.29
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Aurora"
discoveredNames
London1
November1
Aurora22
Heartstone2
Park1
Eva5
Fae3
Evan9
Evans1
Jennifer1
Pain1
persons
0"Aurora"
1"Heartstone"
2"Eva"
3"Fae"
4"Evan"
5"Evans"
6"Jennifer"
7"Pain"
places
0"London"
1"Park"
globalScore0.856
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences109
glossingSentenceCount0
matches(empty)
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords2.616
wordCount1911
matches
0"Not with sound, but with the press of air against her eardrums"
1"not Evan, but a mirror"
2"not the shadow’s, but her own"
3"not real,”* he’d said, but it was"
4"Not with warmth, but with *fire*"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences257
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs85
mean22.48
std20.62
cv0.917
sampleLengths
085
17
24
390
453
518
638
711
81
9104
1020
113
126
1330
1431
159
1626
1744
1823
193
2055
2110
2243
2358
2414
257
2620
2710
2835
294
3022
3116
3226
338
3425
352
3666
3716
3843
3933
4023
4153
4228
433
442
4551
4635
4731
4811
4936
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences239
matches
0"are graveled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs292
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount17
semicolonCount0
flaggedSentences13
totalSentences257
ratio0.051
matches
0"The path behind her—familiar from three days of maps and half-digested folklore—vanishes as the leaves grow thick, as if the trees themselves are exhaling."
1"The standing stones are older than the city—their edges are smooth, rounded by time, but the carvings haven’t eroded."
2"A loop, a line—*Hel*, maybe?"
3"Her watch, too—she unclips it, sets it on a stone."
4"The stone beneath her foot shifts—*slides*."
5"Its face is a blur, features melting like wax, but the eyes—*the eyes* are blue."
6"She drops it, clawing at her chest, but there’s nothing there—just a red mark, a heartbeat’s shape, glowing."
7"For a second, she sees it—Evan, his eyes black, his skin stretched tight over bones, his mouth splitting into a grin that goes too far."
8"It connects with something—soft, wet—and the shadow screeches."
9"For a second, its face is human—Evan’s face, tears streaking his cheeks, his mouth moving in a silent *help*."
10"It’s cold, but not unpleasant—like a hug from someone who’s been waiting for years."
11"Beyond the gap, Aurora sees something—*something*—a world of shadows and laughter, of voices calling her name."
12"Her watch—she’d forgotten—clicks to life."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1724
adjectiveStacks0
stackExamples(empty)
adverbCount62
adverbRatio0.03596287703016241
lyAdverbCount2
lyAdverbRatio0.001160092807424594
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences257
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences257
mean7.44
std5.52
cv0.743
sampleLengths
015
124
213
315
413
53
62
77
84
98
1025
1115
1212
1319
1411
156
1614
175
1818
194
204
212
223
232
242
2511
262
275
285
2919
307
314
324
333
341
3513
363
371
387
394
4010
415
425
434
4428
4510
464
472
488
496
39.88% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats26
diversityRatio0.26848249027237353
totalSentences257
uniqueOpeners69
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences206
matches
0"*Too fast*, she thinks."
1"Just the stones, the moss,"
2"Of course not."
3"Bright, bright blue."
4"Then it’s gone."
5"Just a pile of rags,"
6"Somewhere, a dog barks."
ratio0.034
93.79% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount65
totalSentences206
matches
0"She pauses, palm flat against"
1"She steps into it."
2"she mutters, throat tight"
3"It takes what it wants*."
4"It drops straight down, landing"
5"Her voice cracks"
6"She clears her throat."
7"She takes a step toward"
8"She squints at the runes."
9"*They twist your memories."
10"They make you want what"
11"She’s here for answers."
12"Her breath hitches."
13"She didn’t hear anyone walking."
14"She reaches for the flashlight"
15"It’s warm, too, the plastic"
16"she says, louder"
17"she mutters, but her heart’s"
18"She checks her phone."
19"Her watch, too—she unclips it,"
ratio0.316
54.66% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount167
totalSentences206
matches
0"The bite of London’s November"
1"The path behind her—familiar from"
2"She pauses, palm flat against"
3"The silver chain digs into"
4"The Heartstone pulses, a hot"
5"*Here*, it says."
6"The grove hits her like"
7"She steps into it."
8"Richmond Park shouldn’t have a"
9"The map had shown a"
10"The air smells of wild"
11"The standing stones are older"
12"Loops and lines, maybe runes,"
13"she mutters, throat tight"
14"Eva’s voice echoes in her"
15"It takes what it wants*."
16"Aurora had laughed then, packing"
17"The pendant’s pulse quickens."
18"A leaf falls."
19"It drops straight down, landing"
ratio0.811
97.09% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount4
totalSentences206
matches
0"Now, trees part in a"
1"To her left."
2"Now she can see its"
3"To *come back*."
ratio0.019
62.21% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount7
matches
0"The path behind her—familiar from three days of maps and half-digested folklore—vanishes as the leaves grow thick, as if the trees themselves are exhaling."
1"She drops it, clawing at her chest, but there’s nothing there—just a red mark, a heartbeat’s shape, glowing."
2"A version of her, with her blue eyes and black hair, but her skin is as gray as ash, her lips split in a grin that doesn’t reach her eyes."
3"For a second, she sees it—Evan, his eyes black, his skin stretched tight over bones, his mouth splitting into a grin that goes too far."
4"For a second, its face is human—Evan’s face, tears streaking his cheeks, his mouth moving in a silent *help*."
5"The pendant is hot, scalding, as if it’s burning through her skin, through her organs, through her *soul*."
6"The trees bend, their roots clawing at the ground, as if the grove itself is waking."
77.38% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount2
matches
0"she says, louder"
1"she mutters, but her heart’s already racing"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags16
fancyCount7
fancyTags
0"she mutters (mutter)"
1"she mutters (mutter)"
2"she whispers (whisper)"
3"the shadow corrects (correct)"
4"she gasps (gasp)"
5"he’d (would)"
6"she gasps (gasp)"
dialogueSentences43
tagDensity0.372
leniency0.744
rawRatio0.438
effectiveRatio0.326
80.1142%