Run: 2026-02-20-01KHY8Q9TZ0K1H5PACZPKZXEHR

Run Details

Duration:
29.4s
Cost:
$0.001459
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 suspect’s boots skidded on the wet tarmac, a coat flapping like a broken wing behind him. Harlow Quinn’s breath hitched—she’d been trailing him for seven blocks, rain slashing her face, her slicker clinging to a frame that still held the military bearing of her 22nd year in uniform. The cobblestones glistened, reflecting the neon hum of Soho’s bars: *The Raven’s Nest*’s green sign flickered above a doorway, half-lit. The suspect’s hand pressed to the doorframe, but he didn’t go in. He paused, head swiveling, the way a cat does before it knows it’s been seen. Quinn slowed, her Glock steady. The rain had dulled the city’s noise—the clatter of bins, the laughter from a taxi—until only the *shush* of water on leather and the thud of her heartbeat filled her ears. Three years ago, Morris had laughed at her “rabbit ears,” said her paranoia was just “old age creeping in.” Then the warehouse had collapsed, and only her radio had been found, crackling with static that wasn’t static. She hadn’t laughed since. The suspect moved first. He ducked into an alley between a burger joint and a closed bodega, his coat billowing as he turned the corner. Quinn sprinted, her boots splashing through a puddle that reached her ankles. The alley reeked of damp wood and urine; a roll of duct tape sat in the gutter, half-submerged. She rounded the corner, and the suspect was gone. Not gone. His shadow lingered on a metal door, half-hidden by a stack of crates. The door had a small window, frosted, with a handle shaped like a raven. Below the window, a key slot. The suspect had pressed his palm to the glass—Quinn saw the print, smudged with rain. Then he turned the handle, and the door creaked open, a sliver of light spilling into the alley. Quinn reached the door first. She pressed her back to the brick wall, gun up, and peeked inside. The door led to a staircase—narrow, concrete, pockmarked with graffiti. The air here was cooler, heavier, as if the rain couldn’t reach down. Below, she heard a man’s voice, low and rapid, in a language that sounded like Spanish but wasn’t. Tomás Herrera’s accent. She’d seen it in his records: paramedic, his license revoked after treating “supernatural patients.” Saints preserve her, the clique had gotten to him too. The voice cut off. A footstep, then another, descending. The suspect. Quinn gripped her gun, her thumb brushing the safety—*don’t*—and stepped into the hallway. The staircase was a spiral, each step worn smooth by years of footsteps. She counted to ten before the next floor came into view. At the bottom, the staircase opened into a cavern. A disused Tube platform, judging by the peeling “Mind the Gap” sign, now slabbed with makeshift stalls. Neon signs blared: *Beware the Hecate’s Kiss* (a vial of black liquid behind a bulletproof glass), *Bone Tokens—Genuine* (bony fragments glinting in a velvet pouch). The air hummed with the smell of jasmine and ozone, and a distant clatter of metal. The suspect was at a stall, his back to her. He wore a hood, but his hair was curly, dark—Herrera’s patient, maybe. A dealer in a black coat stood across the stall, leaning on a table stacked with vials. The dealer’s hand hovered near a silver dagger, its hilt wrapped in bone. “Token’s not enough,” the dealer said. His voice was gravel. “You promised the bone, and you gave *gristle*.” The suspect turned. His face was young, 29 maybe, with an olive skin tone that Quinn recognized. A scar ran along his left forearm, precise, like a knife. *Herrera.* But this one wasn’t the doctor—his hands were calloused, his eyes sharp. “The bone’s in the vault. I need time.” “The vault’s not for testing. The Veil *eats* those who take too long.” The dealer smiled, and his teeth were too white. “The Crow’ll hear about this. He doesn’t like… *delays*.” The suspect paled. He reached into his pocket, pulled out a bone token—a shard of what looked like rabbit spine—and held it out. The dealer snatched it, his fingers brushing the suspect’s wrist. “Next time, bring the real thing. Or bring the Crow his head.” Quinn stepped forward. The sound of her boots on the concrete made the dealer pause. He looked up, his smile fading. “Quinn. What a *surprise*.” She didn’t lower the gun. “You should’ve left when I called.” The dealer’s eyes flicked to the dagger, then to the staircase above. “Funny thing about rats, cop. They don’t know when to scurry.” A door slammed somewhere in the market. The dealer’s head snapped toward it. The suspect’s hand moved toward his waistband—*weapon*. Quinn fired once. It didn’t hit him. It hit the ceiling. A chunk of concrete fell, crashing onto the table. The vials shattered, black liquid spreading across the wood. The dealer cursed, diving for the dagger. The suspect bolted, ducking between stalls. The crowd of vendors and patrons—some human, some not—scattered, screaming. A man with antlers sprinted past Quinn, his cloak flapping. A woman with skin like oil hissed, “Cops don’t belong here,” and hurled a vial of green liquid. It hit the wall, splitting, and the smell of rotting meat filled the air. Quinn chased the suspect, her boots slipping on the spill. He turned a corner, into a dark alley between stalls, and she followed. The walls here were lined with barrels, their labels faded: *Wyrm’s Bane*, *Goblin’s Vomit*. The suspect reached the end of the alley and pressed his palm to a brick wall—a wall that wasn’t there, at least not in the way she saw it. A section of brick slid back, revealing a staircase. He disappeared into it. Quinn skidded to a halt. The wall was solid now, no seams, no handle. She pressed her ear to the brick—downstairs, a door slamming, a voice calling, “Hurry, the Crow’s here.” The Crow. She’d heard the name before, in quiet rooms. A middleman for the clique, a supernatural enforcer with a face like a burned log. Three years ago, Morris had whispered it, just before the warehouse collapsed. *“They say he doesn’t sleep. Doesn’t bleed. Just takes what they want.”* Quinn unclipped her flashlight, clicked it on. The beam cut through the dark, revealing a small staircase, carved into the brick. She started down, her boots thudding. The air here was colder, thick with the smell of iron. At the bottom, the staircase opened into a room—larger than the platform, with a vault door of thick metal, hummed with a blue light. The suspect stood in front of the vault, fumbling with a key. The vault door hissed open. Inside, Quinn could see rows of bones—man bones, animal bones, something that looked like a dragon’s rib. The suspect grabbed a bone, large and white, and turned. “Quinn,” he said, his voice steady now. “You shouldn’t be here. This isn’t your fight.” She raised the gun. “It is now. The clique’s running this market. They’re trafficking weapons, alchemicals—” “—and souls,” he finished. He held up the bone. It glowed, faintly, a white light pulsing in the center. “The Veil feeds on them. And if we don’t keep it fed, it’ll take us all. Morris knew that.” Quinn’s breath hitched. Morris. She’d never told anyone—*anyone*—that the name had come up in that warehouse. The suspect must’ve been watching her, knew about the case. “The Crow’s coming,” he said. “He’ll kill you. He’ll kill all of us. But if you help me—” A crash. The vault door slammed shut. A voice, low and guttural, echoed through the room. “The Rat squealed. *Interesting*.” Quinn turned. The door to the room had opened, and a man stood there. He was tall, taller than Quinn, with a face that looked like it had been carved from bark. His eyes were black, no whites, no pupils. In his hand, a machete, its blade dripping with something that wasn’t blood. The suspect dropped the bone. It clattered to the floor, the light dying. “Go,” the suspect said. “Now.” Quinn didn’t move. The man took a step into the room, the machete slashing the air. “Cops meddle. They get *eaten*.” The suspect lunged, tackling the Crow. They fell to the floor, the machete skittering away. The Crow roared, his hand clamping around the suspect’s throat. The suspect gurgled, his hand fumbling for the machete. He grabbed it, raised it, and brought it down—once, twice, three times—into the Crow’s chest. The Crow’s body went limp. He slid off the suspect, a pool of black blood spreading across the floor. The suspect lay there, gasping, his hand pressed to his own stomach—Quinn saw a trickle of blood seep through his fingers. “The bone,” he said. “It works. The Veil—” The sound of a siren. Far off, but growing closer. Quinn knelt beside him. His breath came in short gasps, his eyes fluttering. “You did good,” she said. It came out as a whisper. He smiled, a wet, blood-streaked thing. “Morris would’ve been proud.” The siren was louder now. The suspect’s hand went slack. His eyes stayed open, unblinking, staring at the vault door. Quinn stood, her gun still in hand. She looked at the bone lying on the floor. It glowed again, faintly, as if inviting her. The siren was right outside the staircase. She had to leave. But she couldn’t—Morris was dead, but the Veil wasn’t. And if she walked away now, more people would die. She reached down, picked up the bone. It burned her palm, briefly, like hot metal. The vault door hissed open, and she saw again the rows of bones, each one singing with power. A car door slammed outside. The sound of boots on concrete, fast. Quinn turned. The man who stood in the doorway wasn’t human. His skin was gray, his eyes sunken, his mouth stretched too wide. In his hand, a bone knife, identical to the one in the suspect’s chest. “The bone,” he said, his voice a rattle. “The Veil’s waiting.” Quinn backed up, the bone still in her hand. The creature took a step closer, the knife glinting. The siren was deafening now. She looked at the suspect’s body, at the Crow’s, at the vault door. The bone burned hotter, as if urging her forward. “Come on, then,” she said, her voice steady. “Let’s see what you’ve got.” The creature lunged. Quinn ran.
created_at"2026-02-20T19:34:13.11Z" 2/20/2026, 7:34:13 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency673
moderation_latency(null)
generation_time29238
tokens_prompt4663
tokens_completion4041
native_tokens_prompt4589
native_tokens_completion3715
native_tokens_completion_images(null)
native_tokens_reasoning1168
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"
usage0.001458675
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"021771616053259a4a9e4d164f3c176730993b0b2e8dd9de7e44f"
is_byokfalse
latency358
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771616053-icuVODVXO0P1h0XCqtFH"
upstream_id"021771616053259a4a9e4d164f3c176730993b0b2e8dd9de7e44f"
total_cost0.001458675
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
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences34
tagDensity0.412
leniency0.824
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1758
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
71.56% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1758
totalAiIsms10
found
0
word"flickered"
count1
1
word"footsteps"
count1
2
word"glinting"
count2
3
word"velvet"
count1
4
word"flicked"
count1
5
word"shattered"
count1
6
word"echoed"
count1
7
word"stomach"
count1
8
word"whisper"
count1
highlights
0"flickered"
1"footsteps"
2"glinting"
3"velvet"
4"flicked"
5"shattered"
6"echoed"
7"stomach"
8"whisper"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences159
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences159
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences178
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans17
markdownWords36
totalWords1735
ratio0.021
matches
0"The Raven’s Nest"
1"shush"
2"don’t"
3"Beware the Hecate’s Kiss"
4"Bone Tokens—Genuine"
5"gristle"
6"Herrera."
7"eats"
8"delays"
9"surprise"
10"weapon"
11"Wyrm’s Bane"
12"Goblin’s Vomit"
13"“They say he doesn’t sleep. Doesn’t bleed. Just takes what they want.”"
14"anyone"
15"Interesting"
16"eaten"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
71.82% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1535
uniqueNames13
maxNameDensity1.56
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Quinn24
Soho1
Raven1
Glock1
Morris4
Spanish1
Herrera3
Saints1
Tube1
Hecate1
Tokens1
Crow6
Veil1
persons
0"Quinn"
1"Raven"
2"Morris"
3"Herrera"
4"Saints"
5"Hecate"
6"Crow"
places
0"Soho"
globalScore0.718
windowScore0.833
13.64% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount6
matches
0"sounded like Spanish but wasn’t"
1"looked like rabbit spine—and held it out"
2"looked like a dragon’s rib"
3"looked like it had been carved from bark"
4"as if inviting her"
5"as if urging her forward"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1735
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences178
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean34.7
std23.57
cv0.679
sampleLengths
096
177
264
368
486
548
667
752
818
949
1031
1145
1225
1311
1423
1549
1665
1775
184
1931
2049
2162
2244
2315
2416
2538
2626
2718
2820
2953
3018
3121
3249
3340
348
3510
3624
3710
3820
3954
4033
4112
422
4335
4411
4523
4622
4713
483
492
92.02% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences159
matches
0"been seen"
1"been found"
2"was gone"
3"were calloused"
4"were lined"
5"been carved"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs268
matches
0"was deafening"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount25
semicolonCount1
flaggedSentences20
totalSentences178
ratio0.112
matches
0"Harlow Quinn’s breath hitched—she’d been trailing him for seven blocks, rain slashing her face, her slicker clinging to a frame that still held the military bearing of her 22nd year in uniform."
1"The rain had dulled the city’s noise—the clatter of bins, the laughter from a taxi—until only the *shush* of water on leather and the thud of her heartbeat filled her ears."
2"The alley reeked of damp wood and urine; a roll of duct tape sat in the gutter, half-submerged."
3"The suspect had pressed his palm to the glass—Quinn saw the print, smudged with rain."
4"The door led to a staircase—narrow, concrete, pockmarked with graffiti."
5"Quinn gripped her gun, her thumb brushing the safety—*don’t*—and stepped into the hallway."
6"Neon signs blared: *Beware the Hecate’s Kiss* (a vial of black liquid behind a bulletproof glass), *Bone Tokens—Genuine* (bony fragments glinting in a velvet pouch)."
7"He wore a hood, but his hair was curly, dark—Herrera’s patient, maybe."
8"*Herrera.* But this one wasn’t the doctor—his hands were calloused, his eyes sharp."
9"He reached into his pocket, pulled out a bone token—a shard of what looked like rabbit spine—and held it out."
10"The suspect’s hand moved toward his waistband—*weapon*."
11"The crowd of vendors and patrons—some human, some not—scattered, screaming."
12"The suspect reached the end of the alley and pressed his palm to a brick wall—a wall that wasn’t there, at least not in the way she saw it."
13"She pressed her ear to the brick—downstairs, a door slamming, a voice calling, “Hurry, the Crow’s here.”"
14"At the bottom, the staircase opened into a room—larger than the platform, with a vault door of thick metal, hummed with a blue light."
15"Inside, Quinn could see rows of bones—man bones, animal bones, something that looked like a dragon’s rib."
16"She’d never told anyone—*anyone*—that the name had come up in that warehouse."
17"He grabbed it, raised it, and brought it down—once, twice, three times—into the Crow’s chest."
18"The suspect lay there, gasping, his hand pressed to his own stomach—Quinn saw a trickle of blood seep through his fingers."
19"But she couldn’t—Morris was dead, but the Veil wasn’t."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1558
adjectiveStacks1
stackExamples
0"wet, blood-streaked thing."
adverbCount33
adverbRatio0.021181001283697046
lyAdverbCount6
lyAdverbRatio0.0038510911424903724
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences178
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences178
mean9.75
std6.18
cv0.634
sampleLengths
017
132
220
312
415
55
631
737
84
94
1021
1112
1218
139
142
1513
1614
176
1815
1918
205
2113
2210
2313
2418
253
2624
274
285
292
3013
3113
3211
339
3417
3525
3616
3710
3812
3917
4013
416
424
438
443
4514
4611
4713
488
4922
38.76% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.1797752808988764
totalSentences178
uniqueOpeners32
22.68% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences147
matches
0"Then he turned the handle,"
ratio0.007
94.83% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount46
totalSentences147
matches
0"He paused, head swiveling, the"
1"She hadn’t laughed since."
2"He ducked into an alley"
3"She rounded the corner, and"
4"His shadow lingered on a"
5"She pressed her back to"
6"She’d seen it in his"
7"She counted to ten before"
8"He wore a hood, but"
9"His voice was gravel."
10"His face was young, 29"
11"He reached into his pocket,"
12"He looked up, his smile"
13"She didn’t lower the gun."
14"It didn’t hit him."
15"It hit the ceiling."
16"It hit the wall, splitting,"
17"He turned a corner, into"
18"He disappeared into it."
19"She pressed her ear to"
ratio0.313
4.22% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount134
totalSentences147
matches
0"The suspect’s boots skidded on"
1"Harlow Quinn’s breath hitched—she’d been"
2"The cobblestones glistened, reflecting the"
3"The suspect’s hand pressed to"
4"He paused, head swiveling, the"
5"Quinn slowed, her Glock steady."
6"The rain had dulled the"
7"She hadn’t laughed since."
8"The suspect moved first."
9"He ducked into an alley"
10"Quinn sprinted, her boots splashing"
11"The alley reeked of damp"
12"She rounded the corner, and"
13"His shadow lingered on a"
14"The door had a small"
15"The suspect had pressed his"
16"Quinn reached the door first."
17"She pressed her back to"
18"The door led to a"
19"The air here was cooler,"
ratio0.912
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences147
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount3
matches
0"Quinn sprinted, her boots splashing through a puddle that reached her ankles."
1"Inside, Quinn could see rows of bones—man bones, animal bones, something that looked like a dragon’s rib."
2"In his hand, a machete, its blade dripping with something that wasn’t blood."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount5
matches
0"The dealer smiled, and his teeth were too white"
1"She pressed, a door slamming, a voice calling,"
2"he said, his voice steady now"
3"he said, his voice a rattle"
4"she said, her voice steady"
61.76% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"A disused Tube platform judging (a disused tube platform judging)"
1"oil hissed (hiss)"
2"She pressed (press)"
dialogueSentences34
tagDensity0.294
leniency0.588
rawRatio0.3
effectiveRatio0.176
75.5098%