Run: 2026-02-20-01KHY8X31QSR22Y0HJ04BCJ3D6

Run Details

Duration:
29.1s
Cost:
$0.001423
Provider:
Seed

Model input

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

Model response

AI
The doorknob jiggled. Rory didn’t pause, didn’t even look up from the delivery box in her hands. The address on the slip was scrubbed, but the handwriting—loopy, deliberate—was familiar enough. *Silas’* bar below thudded with a bassline from a pub quiz; above, her flat smelled of Jane’s overcooked jasmine rice and Ptolemy’s catnip. She set down the glass jar of apricots, her thumb brushing the scar on her wrist—old, clean, a crescent moon etched into skin. The door creaked open. She turned. Lucien Moreau stood there. Not the Lucien she’d last seen, five months ago, in the rain outside her old flat in Camden—coat sodden, face stony, a blade half-drawn from his cane. Now he was *dry*: charcoal suit pressed, platinum hair slicked back, ivory cane propped like a crown at his hip. His amber eye glinted; the black one… *burned*. “You’re late,” she said. It came out sharper than she meant. Her spine went rigid, but her hands didn’t reach for the knife on the counter. Not yet. He stepped inside. The bell above the door clanged, and Ptolemy yowled from behind a stack of spell books. “Wine?” he asked, nodding at the chipped decanter on her table. “Or did you finish the last bottle before I arrived?” “Jane’s got a tap in the hallway for free samples.” Rory shut the door, deadbolt snapping into place. “What are you doing here, Lucien? You didn’t call. You never *do*.” “Ah, *Rory*.” He smiled, that slow, lazy smile that used to make her forget the way his phone never rang when she called, the way he flinched when she touched his cheek. “You sound thrilled.” “Thrilled would be if you’d died in a gutter. Let’s be clear.” She crossed her arms. The scar on her wrist itched, a trick from childhood, but today it felt like a warning. “What do you want? Money? Information? Eva’s hiding from the tax man again, and last time you ‘helped’ she ended up in a debtors’ prison in Kingston.” “Eva’s flourishing. She sent you a plant, by the way. A *monstera*. Total cliché.” He moved past her, boots silent on the linoleum, and paused at her desk. A stack of library books—*Demonology for Beginners*, *Avaros: The Demon Realms*—sat under a half-finished crossword. He traced the edge of the volume, his nail catching on the spine. “You’re still into this nonsense. The *supernatural*.” “Eva’s into it. I’m just… reading.” She stepped closer, keeping her voice low. “Lucien. I asked you to leave. You said… you said you weren’t going to come back.” He turned. His amber eye was calm; the black one flickered. “You were *right* to ask that. About… *us*.” A flicker. *Us*. Always *us*, when it suited him. When Evangeline wasn’t around, when the pay was good, when he needed someone who could read a room better than a Ouija board. “What changed?” she asked. He reached into his coat, pulled out a manila folder. The tab was bright red, sealed with wax. *Beware the Whispering Wren*. Her breath hitched. That was the case. The one she’d been working on, alone, until she found out it was linked to a *demon*—not the half-breeds like Lucien, but the real thing, hungry. She’d found the clues: a grave in Islington, a list of names in Old English, a symbol carved into a church wall. She’d been closing in… when the leads dried up. When Lucien had shown up, drunk on something, and said, *“You’re not safe. Stop.”* And she’d said, *“You don’t get to tell me what to do.”* “What’s this?” she asked, nodding at the folder. “Your ‘case’ is getting… *noisy*.” He sat on the edge of her sofa, the leather creaking. “Someone’s killing the people you’re tracking. One by one. Last night, it was Mrs. Hargrove. The herbalist in Whitechapel. Throat torn out. *Ripped* out.” Her hands balled into fists. “I saw her at the market last week. She gave me chamomile for Ptolemy. Said his fleas were ‘demonic’.” “Her shop’s been ransacked. Books, herbs—all gone. But not the *imports*. The *exports*.” He flipped the folder open. A photo: Mrs. Hargrove, her apartment in ruins, a single charred symbol on the wall. The same one Rory had carved into her kitchen table, when she thought she was alone. “You were here,” she said. Not a question. He met her gaze. “Demon doesn’t leave marks like that. Not unless it wants you to know it’s watching. And it’s *watching*. The Wren’s not the name of the creature. It’s a *calling card*. The Whispering Wren sings for those who listen. And it heard you.” Silence. Ptolemy padded over, rubbed against Lucien’s calf. The half-demon didn’t flinch. “Why are you telling me this?” “Because you’re the only person I know who can track it. Who *dare* to track it. And because it’s after *you*.” He leaned forward, his voice lower. “Last week, it sent a message. To your bar. To Silas.” Rory’s chest tightened. Silas was her neighbor, her friend—had been since she moved in, when she was 22, fresh from Cardiff, fleeing Evan. He’d seen her cry in the stairwell, had let her stay when the rent was too high, had taught her to mix a mean gin and tonic. *“You’re family, Rory,”* he’d said. “You should’ve told me.” “Told you what? That monsters slip into East End bars, leave notes on coasters? Silas thought it was a prank. Said I’d been drinking the sherry he stashed.” He stood, tucking the folder under his arm. “I came to warn you. To burn the files. To… fix what I broke.” “What did you break, Lucien?” She took a step toward him, the scar on her wrist burning hotter. “You walked away. Said I was too *human* to understand. That I was… *dangerous*.” He reached out, his thumb brushing her jaw. *“You *are* dangerous,”* he’d said, that night in Camden. Rain on the fire escape, his breath hot against her ear. *“A little spark, and the whole world burns.”* And then he’d kissed her, hard, like he meant it, like he *needed* it, and then he’d left. Her pulse raced. “You think I don’t know why you’re here? You need me to find this thing so you can… *exploit* it. Sell the information. Line your own pockets.” “God, you’re naive.” He laughed, low, bitter. “You think I came all the way to Brick Lane to *sell* something? I came to *save* you.” “Save me? From what? From *you*?” She stepped back, slamming into the counter. The jar of apricots fell, glass shattering. Juice spread like blood across the floor. “You didn’t *save* anyone when you left. You left me to drown in a city that doesn’t care. And now you expect me to… *forgive* you?” “I never asked you to forgive me.” He took another step, closing the space. His cane clattered against the wall. “I asked you to *listen*. The Wren’s not a demon. It’s a *hunter*. And it’s been hunting me for years. For *her*.” His hand fell to his side, and for a second, Rory saw it: a faint, glowing rune on his neck, like a brand. Her breath caught. “Her? Who’s her?” He didn’t answer. Instead, he reached into his coat again, pulled out a locket. Silver, engraved with a rose. The same rose he’d given her, on her 24th birthday. *“For when you need to remember who you belong to,”* he’d said. She’d lost it, three months later, in Camden. Thought it was just a cheap trinket. “You still have it.” It came out a whisper. “Of course I do.” He opened it. A photo inside: a woman with dark hair, amber eyes, and a smile that was too wide, too bright. *“My mother,”* he said. “She was a human. A witch. She loved a demon. And he loved her. But the hunters came. They killed her. And he… he’s been trying to kill them ever since.” Rory stared at the photo. The woman looked familiar, somehow—like Lucien, but softer, warmer. “What does this have to do with me?” “Because the Whispering Wren is one of them. One of the hunters. And it’s found you. Because you’re the only one who can stop it. The only one who knows its tricks.” He held the locket out, his fingers brushing her wrist. “Please. For me. For *her*.” A noise from below: a crash, a shout. Silas. Rory’s head snapped to the door. “Silas. He’s—” “Fine.” Lucien’s voice was sharp. “He’s alive. But the Wren was there. Watching. It left a calling card.” He turned, walked to the window. The street below was empty, except for a single black car, idling. A man in a trench coat stood at the curb, smoking a cigarette. His eyes were glassy, milky—*not* human. Rory’s hand drifted to the kitchen knife. “Who is he?” “Someone who thinks I’ve been hiding. Who thinks I’m the one who killed your cousin in Dublin. Who thinks you’re here to clean up my mess.” Lucien looked at her, his black eye blazing. “I need your help. Tonight. Or tomorrow. Either way, he’s coming back.” She stared at the knife, at the way its handle fit her hand, familiar as a second thumb. “Why me?” “Because you’re a *hunter*, Rory. You’re not just some delivery girl or a scared kid from Cardiff. You’re *fearless*. And the Wren feeds on fear. It’s been feeding on me for years. But it can’t feed on you. Not if you don’t let it.” The car in the street started. Headlights flickered through the window. Silas’ voice, muffled: “Rory? You in there? You okay?” “Fine!” she yelled back, her voice steady now. “Just… dropped a jar!” Lucien handed her the locket. “Keep it. As a reminder. Of everything you are. Of everything we can be.” She gripped the locket, its weight a promise. The doorbell rang. Rory tensed. The knife in her hand felt heavier. “Stay behind me,” she said, but it wasn’t a question. She opened the door. Silas stood there, a bruise blooming on his cheek, a baseball bat in his hand. “Told you I heard something. Thought—” A shadow moved behind him. Rory pushed him inside. The door slammed shut. Lucien was already moving, his cane sliding from his hand, the blade extending with a *snap*. “Not today,” he said. The shadow stepped into the light. It was a man, but not a man—gaunt, with wings like crows’ wings, eyes like embers. The Whispering Wren. Rory raised the knife. And let out a scream. --- The chapter ends with Rory and Lucien confronting the Wren, tension at its peak. The shadowy figure's appearance sets up immediate conflict, leaving readers wondering how Rory will use her skills to survive— and if her history with Lucien will help or hinder her.
created_at"2026-02-20T19:37:22.771Z" 2/20/2026, 7:37:22 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency649
moderation_latency(null)
generation_time28879
tokens_prompt4556
tokens_completion3801
native_tokens_prompt4512
native_tokens_completion3615
native_tokens_completion_images(null)
native_tokens_reasoning859
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"
usage0.0014229
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"021771616242928c305af2c12e62e554ff5b6f08b2a8ff7e9f725"
is_byokfalse
latency426
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771616242-gFCrxUUp1xh9YIXLheve"
upstream_id"021771616242928c305af2c12e62e554ff5b6f08b2a8ff7e9f725"
total_cost0.0014229
cache_discount(null)
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provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags32
adverbTagCount2
adverbTags
0"She stepped back [back]"
1"she yelled back [back]"
dialogueSentences65
tagDensity0.492
leniency0.985
rawRatio0.063
effectiveRatio0.062
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1814
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)
55.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1814
totalAiIsms16
found
0
word"familiar"
count3
1
word"etched"
count1
2
word"traced"
count1
3
word"flickered"
count2
4
word"flicker"
count1
5
word"grave"
count1
6
word"silence"
count1
7
word"pulse"
count1
8
word"raced"
count1
9
word"whisper"
count1
10
word"reminder"
count1
11
word"weight"
count1
12
word"tension"
count1
highlights
0"familiar"
1"etched"
2"traced"
3"flickered"
4"flicker"
5"grave"
6"silence"
7"pulse"
8"raced"
9"whisper"
10"reminder"
11"weight"
12"tension"
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
narrationSentences125
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences125
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences157
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans47
markdownWords87
totalWords1803
ratio0.048
matches
0"Silas’"
1"dry"
2"burned"
3"do"
4"Rory"
5"monstera"
6"Demonology for Beginners"
7"Avaros: The Demon Realms"
8"supernatural"
9"right"
10"us"
11"Us"
12"us"
13"Beware the Whispering Wren"
14"demon"
15"“You’re not safe. Stop.”"
16"“You don’t get to tell me what to do.”"
17"noisy"
18"Ripped"
19"imports"
20"exports"
21"watching"
22"calling card"
23"dare"
24"you"
25"“You’re family, Rory,”"
26"human"
27"dangerous"
28"“You *are"
29"“A little spark, and the whole world burns.”"
30"needed"
31"exploit"
32"sell"
33"save"
34"you"
35"save"
36"forgive"
37"listen"
38"hunter"
39"her"
40"“For when you need to remember who you belong to,”"
41"“My mother,”"
42"her"
43"not"
44"hunter"
45"fearless"
46"snap"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions30
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount1058
uniqueNames18
maxNameDensity1.23
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Moreau1
Lucien12
Camden3
Ptolemy2
Rory13
Demon1
Evangeline1
Ouija1
Whispering2
Islington1
Old1
English1
Mrs1
Cardiff1
Evan1
Rain1
Wren3
Silas3
persons
0"Moreau"
1"Lucien"
2"Ptolemy"
3"Rory"
4"Demon"
5"Evangeline"
6"Mrs"
7"Evan"
8"Silas"
places
0"Camden"
1"Islington"
2"Cardiff"
3"Rain"
globalScore0.886
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount1
matches
0"felt like a warning"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.555
wordCount1803
matches
0"not the half-breeds like Lucien, but the real thing, hungry"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences157
matches
0"said, that night"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs68
mean26.51
std21.19
cv0.799
sampleLengths
03
173
24
32
44
555
628
740
830
935
1060
1163
1229
1319
1432
154
1622
1790
188
1940
2024
2149
228
2346
2418
2538
2655
274
2850
2932
3054
3130
3225
3353
3465
356
3656
379
3861
3922
4047
419
428
4318
4437
4510
4646
4720
4844
4911
99.65% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences125
matches
0"was scrubbed"
1"was linked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs193
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount12
semicolonCount3
flaggedSentences13
totalSentences157
ratio0.083
matches
0"The address on the slip was scrubbed, but the handwriting—loopy, deliberate—was familiar enough."
1"*Silas’* bar below thudded with a bassline from a pub quiz; above, her flat smelled of Jane’s overcooked jasmine rice and Ptolemy’s catnip."
2"She set down the glass jar of apricots, her thumb brushing the scar on her wrist—old, clean, a crescent moon etched into skin."
3"Not the Lucien she’d last seen, five months ago, in the rain outside her old flat in Camden—coat sodden, face stony, a blade half-drawn from his cane."
4"His amber eye glinted; the black one…"
5"A stack of library books—*Demonology for Beginners*, *Avaros: The Demon Realms*—sat under a half-finished crossword."
6"His amber eye was calm; the black one flickered."
7"The one she’d been working on, alone, until she found out it was linked to a *demon*—not the half-breeds like Lucien, but the real thing, hungry."
8"Silas was her neighbor, her friend—had been since she moved in, when she was 22, fresh from Cardiff, fleeing Evan."
9"The woman looked familiar, somehow—like Lucien, but softer, warmer."
10"His eyes were glassy, milky—*not* human."
11"It was a man, but not a man—gaunt, with wings like crows’ wings, eyes like embers."
12"The shadowy figure's appearance sets up immediate conflict, leaving readers wondering how Rory will use her skills to survive— and if her history with Lucien will help or hinder her."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount772
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.018134715025906734
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences157
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences157
mean11.48
std9.51
cv0.828
sampleLengths
03
114
213
323
423
54
62
74
827
920
107
111
124
137
1415
152
163
1716
1811
1910
2018
2112
2232
233
2416
2517
2627
2728
2815
2913
307
3113
3216
332
349
358
362
371
386
3923
404
4110
428
434
443
454
4626
4722
484
495
54.56% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.3503184713375796
totalSentences157
uniqueOpeners55
61.16% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences109
matches
0"Always *us*, when it suited"
1"Instead, he reached into his"
ratio0.018
43.85% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences109
matches
0"She set down the glass"
1"His amber eye glinted; the"
2"It came out sharper than"
3"Her spine went rigid, but"
4"He stepped inside."
5"he asked, nodding at the"
6"He smiled, that slow, lazy"
7"She crossed her arms"
8"He moved past her, boots"
9"He traced the edge of"
10"She stepped closer, keeping her"
11"His amber eye was calm;"
12"He reached into his coat,"
13"Her breath hitched."
14"She’d found the clues: a"
15"She’d been closing in…"
16"she asked, nodding at the"
17"He sat on the edge"
18"Her hands balled into fists."
19"He flipped the folder open"
ratio0.44
19.63% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount96
totalSentences109
matches
0"The doorknob jiggled."
1"Rory didn’t pause, didn’t even"
2"The address on the slip"
3"She set down the glass"
4"The door creaked open."
5"Lucien Moreau stood there."
6"His amber eye glinted; the"
7"It came out sharper than"
8"Her spine went rigid, but"
9"He stepped inside."
10"The bell above the door"
11"he asked, nodding at the"
12"Rory shut the door, deadbolt"
13"He smiled, that slow, lazy"
14"She crossed her arms"
15"The scar on her wrist"
16"He moved past her, boots"
17"A stack of library books—*Demonology"
18"He traced the edge of"
19"She stepped closer, keeping her"
ratio0.881
45.87% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences109
matches
0"Now he was *dry*: charcoal"
ratio0.009
93.60% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences29
technicalSentenceCount2
matches
0"A photo inside: a woman with dark hair, amber eyes, and a smile that was too wide, too bright."
1"Lucien was already moving, his cane sliding from his hand, the blade extending with a *snap*."
31.25% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags32
uselessAdditionCount6
matches
0"Rory shut, deadbolt snapping into place"
1"He sat, the leather creaking"
2"He leaned, his voice lower"
3"He held, his fingers brushing her wrist"
4"Lucien looked, his black eye blazing"
5"she yelled back, her voice steady now"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount3
fancyTags
0"he’d (would)"
1"He laughed (laugh)"
2"she yelled back (yell)"
dialogueSentences65
tagDensity0.169
leniency0.338
rawRatio0.273
effectiveRatio0.092
82.4048%