Run: 2026-02-20-01KHY92T0NGM7AX5M94GKMH29K

Run Details

Duration:
29.3s
Cost:
$0.001480
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</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> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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 bell above The Raven's Nest jingles, cutting through the murmur of voices. Rory Carter pauses, the glass in her hand dripping onto the cherrywood bar. She doesn't look up. She knows that sound. Not the usual clatter of late-coming regulars, but something sharper—*nervous*. "Rory?" The name is a question, but it's not the first time she's heard it. Still, it flips a switch, tight and hot behind her ribs. She sets the glass down, the wet mark spreading like a bruise. "What the hell are you doing here?" Eva. The name hits her like a fist. Same shape, same slant of the vowels—*Ee-vah*—but the voice is wrong. Thicker, edged with something Rory can't place: not the Welsh lilt they shared as kids, but a salt sea tang, like she's been living on winds off the Atlantic. Eva steps into the light. The neon sign flickers green, gilding her hair—black, but streaked with silver, cropped close to her skull. Her coat is leather, worn at the cuffs, the collar turned up against the November chill. She hasn't changed much, Rory thinks, until she meets her eyes. They're blue, too—*faintly* blue, like someone watered down a sky—but the shape is wrong. Not the wide, trusting eyes that used to crinkle when she laughed. These are narrow, assessing. "You look like you've seen a ghost," Eva says. It's not a joke. Her fingers tap the bar, fast, a nervous habit. Rory's old, Rory realizes. Eva's got the same small hands, but the knuckles are knotted, as if she's spent years gripping something hard. "I have," Rory says. She pushes a glass across the bar, wipes her hands on a rag. "Now get out. Silas will throw a fit if he finds you here." "Silas," Eva says, like the name is a grenade. She hesitates, then adds, "I need to talk to you. Alone." Rory's back stiffens. The scar on her left wrist itches—childhood, when she fell off a wall at the Ellises' house, chasing a stray cat. Eva saw it that day, too, cried because she thought Rory would bleed to death. "Alone?" She laughs, sharp. "You think I haven't learned to stay the hell alone?" Eva steps closer. Her scent hits Rory—cumin and smoke, like she's been cooking over an open fire. "You still carry that knife under your bed, don't you?" Rory's hand drops to the bar, where a bottle opener rests. It's not a knife, but it's sharp enough. "What do you want, Eva?" The door swings open. Silas enters, his auburn beard glinting, a limp that's more a sway now. He stops, eyes flicking between them. "Rory. Lila—" "Lila," Rory corrects, before the name can escape. It's been fifteen years, since Eva left Cardiff at dawn, leaving a note that said *Run* and a key to her London flat. Lila was the name she used when she started over, the one that wasn't *Eva Jones*, wasn't *the girl who got kicked out of school for punching a teacher*. Silas nods, as if he's heard the correction before. He moves to the far end of the bar, adjusts a map on the wall—a faded street plan of Prague. "Quiet corner, Lila. Coffee's on me." Eva's jaw tightens. "I don't want coffee." "Then stop hovering," Rory says. She pulls a stool out, slides it to Eva like it's a grenade. "Sit. But if you so much as hint at Evan..." "Evan's dead," Eva says. Rory freezes. The world tilts. Evan—Evan Miller, with his cold hands and worse temper—died last year. Hit by a tube train on his way to work. The paper called it an accident. Rory had bought the paper, just to check. "You're lying," she says. Eva's hand trembles as she sits. "I wish I was. I got the call from the police. They said he had a train ticket to Ilford. That's where you—" "Where I what?" Rory leans forward, her voice a growl. "Where I *hoped* he was? Where I packed my bag and left? Don't pretend you care." "I care," Eva says. Her voice cracks. "God, Rory, I never stopped caring. I just... I had to." "Had to what?" Rory yells. A glass clatters in the corner. Silas doesn't look up. "Hide from him? Hide from the fact that you knew he was going to hurt me? That you *let* him?" Eva's eyes glisten. "I was scared, okay? He had power, Rory. Back in Cardiff, he was with the三合会. Triads. If I said no, he'd go after *your* dad. Your mom. The barrister, the teacher—they'd be dead before you could blink." Rory's chest aches. She knows it's true. Evan had mentioned his uncle in Hong Kong once, a man with "connections." She'd laughed it off. Stupid. "I didn't know where else to go," Eva says. "I took the money he gave me. The ticket. I thought... I thought if I made enough noise, he'd get bored. That we could—" "Start over," Rory finishes. "Yeah. We did that, too." She taps the scar on her wrist. "Childhood accident. Not. Evan did that. Tried to cut it deeper when I fought back. Said it was punishment for 'disrespect.'" Eva reaches for her hand. Rory flinches. "I'm sorry. I'm so sorry." "Sorry won't bring the cuts back," Rory says. She stands, grabs her coat from the hook behind the bar. "I'm done with this. I'm closing early." "Wait!" Eva stands, too, knocking over her stool. It clatters to the floor. "Please. There's something else. I need your help." Rory pauses. The door is cold, the wind off the Thames biting. But Eva's voice is tight, *desperate*—the same way it used to be, when they were kids and she'd climb the walls of Llandaff Cathedral, screaming at the gargoyles because Rory had said she didn't believe in dragons. "Help you with what?" Rory says. Eva pulls a photo from her coat. It's crumpled, the edges frayed. The back is written in a shaky hand: *31 October 2023. Victoria Docks.* The photo shows a warehouse, dimly lit through a crack in the door. Inside, there are barrels—oil drums, painted black. And a man. A man with a face Rory recognizes. "Marcus Voss," Eva says. "He used to work for Evan. Before Evan... before he got stupid and started killing people." Rory's blood turns to ice. Marcus Voss. The enforcer. The man who had broken Rory's nose when she tried to leave Evan's flat. "Why are you showing me this?" she says. "Because Voss is looking for you," Eva says. "He thinks you took something from Evan. Something he was going to sell to the Triads." Rory laughs, but it's not funny. "Evan had nothing I wanted. He had a wallet, maybe. A watch that wasn't stolen. That's it." Eva shakes her head. "He had a USB drive. With photos. Of you. Of your parents. Of Silas." Silas. Rory's head snaps up. She turns to the bar, where he's still adjusting the map. His back is rigid, his jaw tight. "I didn't know," she says. Eva steps closer. "Silas helped you leave, didn't he? Back in 2008. Got you the fake ID. The train ticket. He's been watching you ever since." Rory's throat is dry. Silas had been quiet the night she left, had just nodded when she knocked on his door, had pressed a envelope of cash into her hand. "Why?" she says. "What did he want?" Eva hesitates. "He... he used to work with Evan's uncle. Before Prague. Before he retired." The bell jingles again. A customer enters, but Rory doesn't look up. She's too busy staring at Silas, at the way his fingers trace the edge of the map, at the silver signet ring on his right hand—Evan's ring, Rory realizes, because she'd seen him wear it once, when she'd gone back to retrieve a book she'd left at his flat. "When did you find out?" she says. "Last week," Eva says. "Voss gave me the photo. Told me I had three days to find you and bring him the USB drive. Otherwise, he'd kill your mom. And your dad. And Silas. And... and me." Rory closes her eyes. The world spins. She thinks of her parents, of their walks in Bute Park, of her mom's recipe for cawl, of her dad's stories about the law. She thinks of Silas, of the way he'd taught her to mix a martini, to read a room, to *survive*. "You should have told me," she says. "I tried," Eva says. "I went to your flat. You weren't there. I called. Your machine picked up. I left a message. You never called back." Rory opens her eyes. "I've been busy. I have a life now. A bar. A job. I don't need this." "Your life is a lie," Eva says. "Evan was a monster. But Silas is a *spy*. And he's been lying to you your whole goddamned life—" "Evan was a Triad errand boy," Rory says, cutting her off. "Silas was MI6. He didn't lie. He *saved* me. If he wanted me dead, I'd be dead. That's why I stayed here, isn't it? Because I thought... because I hoped..." She trails off. Silas turns, meets her eyes. His hazel gaze is steady, unflinching. "Come here," he says, his voice low. Rory hesitates. Then she moves, crosses the bar. Silas reaches into his pocket, pulls out a key—old, brass, with a snake carved into the shaft. "The secret room," he says. "I've been waiting for the right time to tell you." "Why?" Rory says. "After all these years?" "Because Voss is a problem," Silas says. "He has contacts. In Prague. In Cardiff. He'll find you. He'll find them. And if I'm not there to stop him..." "You'll let me handle it," Rory says. Silas nods. "You're good. Better than me, even. In 2008, I owed your father. A debt. He saved my life. In Prague. I owed him. And I owed you. Because you were the first person I knew who could outthink a monster. Who didn't back down." Rory looks at the key. At the snake, coiled around the shaft. "Why didn't you tell me?" "Because secrets are heavier than lies," Silas says. "They weigh you down. You needed to be free. From Evan. From him. From... everything." Eva clears her throat. "What about the USB drive?" Rory looks at her. "Evan had it. So did Voss. So did Silas. Because he's a spymaster, right? He didn't just *save* me. He *kept* an eye on me. To make sure I didn't go back. To make sure I didn't... *break*." Silas smiles. "Break is a big word, Rory. You're stronger than that." "I am," she says. "But that doesn't mean I know how to fight a spy. Or a Triad enforcer. Or... the man I thought I could trust." "Trust isn't a currency," Silas says. "It's a choice. And you made the right one, staying here. Staying *alive*." Rory picks up the key. The snake is cold in her hand. She thinks of her parents, of Eva, of Silas, of the girl she was, the woman she is. She thinks of Evan, dead, and Voss, coming for her. "Let's find the USB drive," she says. Eva's face lights up. "You can do this?" "I have to," Rory says. She looks at Silas. "Show me the secret room." Silas nods, stands. He walks to the bookshelf, runs his hand along the spine of a leather-bound novel—*Notes from Underground*—and pulls. The shelf swings open, revealing a staircase, dark and narrow. "Voss is waiting," Silas says. "We have an hour. Maybe less." Rory takes the key from her pocket. Feels the scar on her wrist, itching again. "Good," she says. "Let's make him wait." She starts down the stairs, Eva right behind her. Silas lingers, looks at the door, then follows. The secret room is cool, lined with files, with maps, with a desk, with a laptop open, its screen showing a single file: *Aurora Carter. vital. not to be compromised.* Rory smiles. She opens the file. There's a photo of Evan, dead, under a train. There's a photo of Marcus Voss, standing in front of a warehouse. And there's a message: *Watch her. Keep her safe. If anything happens to her, burn the world.* She closes the laptop. Looks at Silas. "Burn the world," she says. "Romantic." Silas smirks. "MI6 isn't known for its sense of humor, Rory." "Good," she says. "Then Voss is in for a treat." She sits at the desk, opens the USB drive Evan had. Starts typing. Eva leans over her shoulder. Silas pulls up a map, his finger tracing Victoria Docks. The clock on the wall ticks. Outside, the wind howls. Inside, the secret room hums with purpose. Rory stares at the screen. Thinks of the girl she was, the woman she is, and the one she'll become. Time, she knows, is a funny thing. It changes people. It heals. It hunts. But for now, she's ready. Ready to fight. Ready to burn. Ready to come home.
created_at"2026-02-20T19:40:30.126Z" 2/20/2026, 7:40:30 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency460
moderation_latency(null)
generation_time29160
tokens_prompt4618
tokens_completion3717
native_tokens_prompt4570
native_tokens_completion3791
native_tokens_completion_images(null)
native_tokens_reasoning496
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"
usage0.00148005
router(null)
provider_responses
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endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"021771616430257718115c1869987166c12ff7f50db9b4e27e5b5"
is_byokfalse
latency331
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771616430-16cLhQLpflHsw1rzNb9J"
upstream_id"021771616430257718115c1869987166c12ff7f50db9b4e27e5b5"
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cache_discount(null)
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags44
adverbTagCount2
adverbTags
0"She hesitates then [then]"
1"Eva stands too [too]"
dialogueSentences94
tagDensity0.468
leniency0.936
rawRatio0.045
effectiveRatio0.043
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2191
totalAiIsmAdverbs0
found(empty)
highlights(empty)
80.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found
0"Marcus"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
88.59% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2191
totalAiIsms5
found
0
word"lilt"
count1
1
word"chill"
count1
2
word"glinting"
count1
3
word"sense of"
count1
4
word"tracing"
count1
highlights
0"lilt"
1"chill"
2"glinting"
3"sense of"
4"tracing"
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
narrationSentences190
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences190
filterMatches
0"Watch"
hedgeMatches
0"tried to"
1"happens to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences240
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0.004
matches
0"\"I was scared, okay? He had power, Rory. Back in Cardiff, he was with the三合会. Triads. If I said no, he'd go after *your* dad. Your mom. The barrister, the teacher—they'd be dead be…"
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans21
markdownWords57
totalWords2178
ratio0.026
matches
0"nervous"
1"Ee-vah"
2"faintly"
3"Run"
4"Eva Jones"
5"the girl who got kicked out of school for punching a teacher"
6"hoped"
7"let"
8"your"
9"desperate"
10"31 October 2023. Victoria Docks."
11"survive"
12"spy"
13"saved"
14"save"
15"kept"
16"break"
17"alive"
18"Notes from Underground"
19"Aurora Carter. vital. not to be compromised."
20"Watch her. Keep her safe. If anything happens to her, burn the world."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions53
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions138
wordCount1338
uniqueNames27
maxNameDensity3.29
worstName"Rory"
maxWindowNameDensity6
worstWindowName"Silas"
discoveredNames
Raven1
Nest1
Carter2
Rory44
Welsh1
Atlantic1
November1
Eva33
Cardiff1
London1
Prague1
Evan8
Miller1
Hong1
Kong1
Thames1
Llandaff1
Cathedral1
October1
Voss3
Silas22
Bute1
Park1
Marcus2
Victoria2
Docks2
Ready3
persons
0"Raven"
1"Carter"
2"Rory"
3"November"
4"Eva"
5"Evan"
6"Miller"
7"Cathedral"
8"Voss"
9"Silas"
10"Marcus"
11"Victoria"
places
0"Cardiff"
1"London"
2"Prague"
3"Hong"
4"Kong"
5"Thames"
6"Bute"
7"Park"
globalScore0
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount0
matches(empty)
62.26% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.377
wordCount2178
matches
0"Not the usual clatter of late-coming regulars, but something sharper"
1"not the Welsh lilt they shared as kids, but a salt sea tang, like she's been living on winds off the Atl"
2"not a knife, but it's sharp enough"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences240
matches
0"knows that sound"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs91
mean23.93
std15.73
cv0.657
sampleLengths
044
11
244
348
479
545
630
720
853
927
1024
1125
1260
1335
147
1528
164
1740
184
1929
2026
2118
2235
2340
2425
2533
2637
2712
2826
2921
3049
316
3225
3330
3420
3523
368
3724
3823
3918
4023
415
4226
4337
4415
4561
467
4737
4851
497
97.88% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences190
matches
0"are knotted"
1"been fifteen"
2"got kicked"
3"is written"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs279
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount17
semicolonCount0
flaggedSentences13
totalSentences240
ratio0.054
matches
0"Not the usual clatter of late-coming regulars, but something sharper—*nervous*."
1"Same shape, same slant of the vowels—*Ee-vah*—but the voice is wrong."
2"The neon sign flickers green, gilding her hair—black, but streaked with silver, cropped close to her skull."
3"They're blue, too—*faintly* blue, like someone watered down a sky—but the shape is wrong."
4"The scar on her left wrist itches—childhood, when she fell off a wall at the Ellises' house, chasing a stray cat."
5"Her scent hits Rory—cumin and smoke, like she's been cooking over an open fire."
6"He moves to the far end of the bar, adjusts a map on the wall—a faded street plan of Prague."
7"Evan—Evan Miller, with his cold hands and worse temper—died last year."
8"But Eva's voice is tight, *desperate*—the same way it used to be, when they were kids and she'd climb the walls of Llandaff Cathedral, screaming at the gargoyles because Rory had said she didn't believe in dragons."
9"Inside, there are barrels—oil drums, painted black."
10"She's too busy staring at Silas, at the way his fingers trace the edge of the map, at the silver signet ring on his right hand—Evan's ring, Rory realizes, because she'd seen him wear it once, when she'd gone back to retrieve a book she'd left at his flat."
11"Silas reaches into his pocket, pulls out a key—old, brass, with a snake carved into the shaft."
12"He walks to the bookshelf, runs his hand along the spine of a leather-bound novel—*Notes from Underground*—and pulls."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount927
adjectiveStacks0
stackExamples(empty)
adverbCount13
adverbRatio0.014023732470334413
lyAdverbCount1
lyAdverbRatio0.0010787486515641855
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences240
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences240
mean9.07
std7.79
cv0.859
sampleLengths
013
113
24
34
410
51
614
711
812
97
101
117
1211
1329
145
1517
1616
1711
1814
1912
204
219
224
239
244
2519
264
2713
2813
299
3011
313
3221
3315
344
3510
363
3714
3810
3911
408
415
424
4313
446
452
468
4723
4829
499
45.28% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.30416666666666664
totalSentences240
uniqueOpeners73
24.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences137
matches
0"Then she moves, crosses the"
ratio0.007
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences137
matches
0"She doesn't look up."
1"She knows that sound."
2"She sets the glass down,"
3"Her coat is leather, worn"
4"She hasn't changed much, Rory"
5"They're blue, too—*faintly* blue, like"
6"It's not a joke."
7"Her fingers tap the bar,"
8"She pushes a glass across"
9"She hesitates, then adds,"
10"She laughs, sharp"
11"Her scent hits Rory—cumin and"
12"It's not a knife, but"
13"He stops, eyes flicking between"
14"It's been fifteen years, since"
15"He moves to the far"
16"She pulls a stool out,"
17"Her voice cracks."
18"She knows it's true."
19"She taps the scar on"
ratio0.292
54.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount111
totalSentences137
matches
0"The bell above The Raven's"
1"Rory Carter pauses, the glass"
2"She doesn't look up."
3"She knows that sound."
4"The name is a question,"
5"She sets the glass down,"
6"The name hits her like"
7"Eva steps into the light."
8"The neon sign flickers green,"
9"Her coat is leather, worn"
10"She hasn't changed much, Rory"
11"They're blue, too—*faintly* blue, like"
12"These are narrow, assessing."
13"It's not a joke."
14"Her fingers tap the bar,"
15"Rory's old, Rory realizes."
16"Eva's got the same small"
17"She pushes a glass across"
18"Eva says, like the name"
19"She hesitates, then adds,"
ratio0.81
36.50% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences137
matches
0"If anything happens to her,"
ratio0.007
96.27% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount3
matches
0"Eva's got the same small hands, but the knuckles are knotted, as if she's spent years gripping something hard."
1"Silas enters, his auburn beard glinting, a limp that's more a sway now."
2"It's been fifteen years, since Eva left Cardiff at dawn, leaving a note that said *Run* and a key to her London flat."
90.91% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags44
uselessAdditionCount3
matches
0"She laughs, sharp"
1"Rory leans, her voice a growl"
2"he says, his voice low"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags39
fancyCount4
fancyTags
0"She laughs (laugh)"
1"Rory corrects (correct)"
2"Rory yells (yell)"
3"Evan had (have)"
dialogueSentences94
tagDensity0.415
leniency0.83
rawRatio0.103
effectiveRatio0.085
82.5634%