Run: 2026-02-20-01KHY9RB7FQ5M9016GZFYHMEK4

Run Details

Duration:
26.3s
Cost:
$0.001397
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora’s boot crunches on something that isn’t gravel—iridescent shards that glow like crushed stained glass. She pauses, hand dropping to the dagger at her waist, the Fae blade’s moonsilver edge catching the sliver of moon through the oak branches. “The stones are warmer than I remembered,” she says, not looking back. “Eva’s map wasn’t wrong, but it didn’t *say* the standing circles would hum.” A breath hisses through Nyx’s form—they materialize beside her, a shadow with violet eyes that pool like oil. “Humming’s new,” they say, voice a whisper that tangles the air. “Or perhaps I’m hearing *it* better now.” Their fingers brush the Heartstone pendant at Aurora’s throat; the crimson gem warms under their touch, pulsing once, twice. Behind them, Isolde’s silver hair moves without wind, a river of moonlight. “Veil hums when it bleeds,” she says, stepping into the circle. Her bare feet don’t press the shards—they pass through, leaving no mark. “Runes grow for those who listen. Not the kind that scribe. The kind that *breathe*.” Aurora kneels, tracing a rune carved into the oldest stone. It’s not English. Not any tongue she knows. But the grooves hum under her palm, and when she leans closer, she sees it: threads of light weaving through the stone, connecting it to the next, until they form a cage around the clearing. “Like a web,” she says, standing. “To keep something in?” “Or out,” Nyx mutters. They shift, solid now—six feet of shadow that crowd the edge of the circle, shoulders tense. “Hel’s children *love* gates. Especially when the Veil’s thin.” The pendant burns hotter. Aurora yanks it free, staring at the gem. It glows not a warm red anymore, but a sickly, almost neon crimson. “Not just the Grove,” she says. “Something’s *wrong* here. Too close.” Isolde’s lavender eyes narrow. “The Fae do not make *wrong* places. They make *necessary* ones. This one… it remembers. The first time we walked through, we brought a lamb. It ate the flowers. They *screamed*.” She turns, and Aurora sees it: a meadow beyond the circle, but not Earth. The grass is a deep, shifting purple, and the flowers—huge, exotic—pulse like organs. A cluster of golden blooms opens, revealing a center that looks like liquid starlight. “Step,” Isolde says, gesturing. “Before the web decides you’re prey.” Aurora hesitates, then steps into the circle. The runes light up, bright as fireflies, and the air *changes*—thicker, like honey, but scented with jasmine and something sharper, metallic. She blinks; the oak trees surrounding the park are gone. In their place are endemic giants, their bark silver, leaves that shimmer like moth wings. “How long till dark?” she asks, voice loud in the stillness. “An hour here could be a day below,” Isolde says, plucking a purple flower and letting its petals spill to the ground. “Or the other way. Do not trust clocks. Trust *hunger*.” Nyx snorts, but it comes out as a gust of wind that bends the moth leaves. “Hunger’s what’s killing me. Where’s the food? This place looks like it wants to eat me.” Aurora follows the scent—sweet, like overripe peaches, with a undercurrent of something bitter, almost burning. The clearing expands; beyond the meadow is a grove of trees with trunks made of twisted metal, branches heavy with fruit that glows in every color of the rainbow. She picks one, golden and warm, and it bursts in her hand—juice that tastes of both sunshine and smoke. “Jesus,” she says, licking her fingers. “What *is* this?” “Earth’s surplus,” Isolde says. “Excess from kitchens, cellars, fields. The Fae collect it. Choose it. For what they do with it… ‘indulgence’ is too small a word.” She walks to the edge of the grove, where a fountain bubbles. The water isn’t water—it’s a clear, glowing liquid that shifts from blue to green. “The Fountain of Unquenchable Thirst,” she says, cupping her hands. “Drink, and you’ll never be hungry again. Drink a lot, and you’ll never *stop*.” Nyx leans over the fountain, their shadow stretching into the water. “I don’t need to eat.” “Fools do,” Isolde says. “Even shadows. Consume too much, and you forget what it means to be mortal. To *ache*. To *end*.” Aurora’s pendant *screams*. She drops it, and it clatters on the purple grass. The fountain’s water stills. The colored fruit on the metal trees goes dark. Nyx’s shadow ripples, and for a heartbeat, Aurora sees not a silhouette, but a man—pale skin, dark hair, a scar on his wrist—before they’re back to black. “Hel,” they say, voice tight. “There’s a Hel rift. Right behind you.” Aurora spins. The web of light around the circle is *fraying*, threads snapping like elastic. Beyond the fray, she sees it: a tear in the Veil, black as pitch, with a glow that hurts her eyes. Inside, she swears she sees flames—warm amber, like Dymas’s sky—and voices, low and hungry. “How?” she yells. “The solstice is a month away. The Veil should be strong.” “Excess *weakens* it,” Isolde says, not looking away from the rift. “Too much indulgence, too many souls screaming for more. The Fae feed on it, but even they can’t keep the Veil closed forever. Especially when someone *wants* it open.” Nyx is moving, shadow coiling like a snake. “Mask. You need to mask.” They reach into their own shadow, pulling out a device—small, metal, with a lens— and shoving it into Aurora’s hand. “Dymasian spy gear. Blocks Hel’s glow. Or… whatever’s behind this rift.” Aurora fumbles with the mask, squinting through the lens. The rift blurs, but the screams get louder—less like words, more like a primal *hunger*. She takes a step back, tripping over a root that isn’t there. The Fae blade, which had been cold against her thigh, *burns* now. She draws it, and the runes on its blade glow silver—same as the stones, same as the web. “It’s from here,” she says. “The Fae made this too.” “Of course,” Isolde says. “We make the keys, and we make the locks. This one’s not a lock, though. It’s a *door*.” The ground shakes. The web of light shatters, collapsing like a house of cards. The rift swallows the light, and for a moment, Aurora sees it: a figure in the dark, tall, with horns like a ram, skin that looks like cracked obsidian. It laughs, and the sound is a thousand voices screaming at once. Nyx is beside her, shadow solid again, hands on her shoulders. “It’s here for the Heartstone,” they say. “Belphegor’s been hunting it since it left Dymas.” Aurora grips the Fae blade, the moorsilver edge cutting into her palm. “Then we’ll give it something to hunt.” The figure steps through the rift, and the air reeks of charred fruit and honey. Aurora raises the dagger. Isolde closes her eyes, and when she opens them, her hair is longer, silver threads glowing like wire. “Time to feed the web,” she says. “Or watch it feed *us*.” The figure roars, and the world goes dark. The next thing Aurora hears is Nyx’s whisper, hot against her ear: “Did you see that? The fountain *moved*. It’s following us.” She blinks, and the grove is gone. They’re back in the oak circle, the standing stones silent, the shards of stained glass now just dirt. Her hand is bleeding, the Fae blade glowing faintly. Nyx’s shadow is a twisted mass on the ground, as if something has torn through it. Isolde is already walking away, her silver hair trailing behind her. “Remember the riddle,” she calls. “‘The Veil is a mouth. It eats what it wants, but what it *craves* is *more*.’” Aurora stands, the pendant in her hand. It’s dim now, but still warm, still pulsing. “What the hell is happening?” she says, but she knows. The Heartstone is a beacon. And Belphegor has found it. Nyx appears at her side, shadow half-solid. “Welcome to the hunt, Rory. Let’s hope we’re faster than the last time.” She doesn’t ask what the last time was. She doesn’t need to. The memory of that day—of Evan, of the blood, of the door opening—lingers. The grove is silent, but Aurora swears she can still hear the fountain’s song, low and insistent, like a siren’s call. They walk back to the park, the Veil buzzing in her ears. And somewhere, a door slams open. The chapter ends with the sound of running water, and the distant, high-pitched hum of a blade sharpening.
created_at"2026-02-20T19:52:15.881Z" 2/20/2026, 7:52:15 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency459
moderation_latency(null)
generation_time26128
tokens_prompt5338
tokens_completion3522
native_tokens_prompt5371
native_tokens_completion3313
native_tokens_completion_images(null)
native_tokens_reasoning1159
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"
usage0.001396725
router(null)
provider_responses
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endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"0217716171360472b8720b6d986e81ce95e9b006de0a2cba60af6"
is_byokfalse
latency320
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771617135-vySkLp9ng8jRNfy3BZye"
upstream_id"0217716171360472b8720b6d986e81ce95e9b006de0a2cba60af6"
total_cost0.001396725
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
totalTags27
adverbTagCount0
adverbTags(empty)
dialogueSentences50
tagDensity0.54
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1426
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)
82.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1426
totalAiIsms5
found
0
word"whisper"
count2
1
word"tracing"
count1
2
word"pulse"
count1
3
word"beacon"
count1
highlights
0"whisper"
1"tracing"
2"pulse"
3"beacon"
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
narrationSentences95
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences95
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences117
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans25
markdownWords25
totalWords1407
ratio0.018
matches
0"say"
1"it"
2"breathe"
3"love"
4"wrong"
5"wrong"
6"necessary"
7"screamed"
8"changes"
9"hunger"
10"is"
11"stop"
12"ache"
13"end"
14"screams"
15"fraying"
16"weakens"
17"wants"
18"hunger"
19"burns"
20"door"
21"us"
22"moved"
23"craves"
24"more"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions30
unquotedAttributions0
matches(empty)
60.80% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions51
wordCount1009
uniqueNames11
maxNameDensity1.78
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Aurora"
discoveredNames
Fae4
Nyx10
Heartstone2
Aurora18
Isolde10
English1
Earth1
Veil2
Dymas1
Belphegor1
Evan1
persons
0"Nyx"
1"Aurora"
2"Isolde"
3"Dymas"
4"Belphegor"
5"Evan"
places(empty)
globalScore0.608
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences66
glossingSentenceCount0
matches(empty)
57.85% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.421
wordCount1407
matches
0"not a warm red anymore, but a sickly, almost neon crimson"
1"not a silhouette, but a man"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences117
matches
0"eyes that pool"
1"leaves that shimmer"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean41.38
std22.25
cv0.538
sampleLengths
064
155
250
363
465
586
664
732
832
972
1077
1116
1222
1365
1464
1540
1644
1776
1822
1955
2026
2119
2249
238
2422
2550
2632
2735
2820
2925
3021
3112
326
3318
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences95
matches
0"are gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs178
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount20
semicolonCount3
flaggedSentences18
totalSentences117
ratio0.154
matches
0"Aurora’s boot crunches on something that isn’t gravel—iridescent shards that glow like crushed stained glass."
1"A breath hisses through Nyx’s form—they materialize beside her, a shadow with violet eyes that pool like oil."
2"“Or perhaps I’m hearing *it* better now.” Their fingers brush the Heartstone pendant at Aurora’s throat; the crimson gem warms under their touch, pulsing once, twice."
3"Her bare feet don’t press the shards—they pass through, leaving no mark."
4"They shift, solid now—six feet of shadow that crowd the edge of the circle, shoulders tense."
5"The grass is a deep, shifting purple, and the flowers—huge, exotic—pulse like organs."
6"The runes light up, bright as fireflies, and the air *changes*—thicker, like honey, but scented with jasmine and something sharper, metallic."
7"She blinks; the oak trees surrounding the park are gone."
8"Aurora follows the scent—sweet, like overripe peaches, with a undercurrent of something bitter, almost burning."
9"The clearing expands; beyond the meadow is a grove of trees with trunks made of twisted metal, branches heavy with fruit that glows in every color of the rainbow."
10"She picks one, golden and warm, and it bursts in her hand—juice that tastes of both sunshine and smoke."
11"The water isn’t water—it’s a clear, glowing liquid that shifts from blue to green."
12"Nyx’s shadow ripples, and for a heartbeat, Aurora sees not a silhouette, but a man—pale skin, dark hair, a scar on his wrist—before they’re back to black."
13"Inside, she swears she sees flames—warm amber, like Dymas’s sky—and voices, low and hungry."
14"“Mask. You need to mask.” They reach into their own shadow, pulling out a device—small, metal, with a lens— and shoving it into Aurora’s hand."
15"The rift blurs, but the screams get louder—less like words, more like a primal *hunger*."
16"She draws it, and the runes on its blade glow silver—same as the stones, same as the web."
17"The memory of that day—of Evan, of the blood, of the door opening—lingers."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1028
adjectiveStacks1
stackExamples
0"distant, high-pitched hum"
adverbCount24
adverbRatio0.023346303501945526
lyAdverbCount2
lyAdverbRatio0.0019455252918287938
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences117
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences117
mean12.03
std7.64
cv0.635
sampleLengths
015
124
212
313
418
511
626
712
811
912
1015
1110
123
135
1435
156
164
174
1816
1913
208
2113
226
235
244
2545
2613
2714
284
296
307
3121
3210
3315
3411
3522
3610
3716
3816
3915
4029
4119
426
433
444
4535
4614
4710
4814
4911
62.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.4188034188034188
totalSentences117
uniqueOpeners49
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences84
matches(empty)
ratio0
72.38% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences84
matches
0"She pauses, hand dropping to"
1"she says, not looking back"
2"they say, voice a whisper"
3"Their fingers brush the Heartstone"
4"she says, stepping into the"
5"Her bare feet don’t press"
6"It’s not English."
7"she says, standing"
8"They shift, solid now—six feet"
9"It glows not a warm"
10"She turns, and Aurora sees"
11"She blinks; the oak trees"
12"she asks, voice loud in"
13"She picks one, golden and"
14"she says, licking her fingers"
15"She walks to the edge"
16"she says, cupping her hands"
17"She drops it, and it"
18"they say, voice tight"
19"They reach into their own"
ratio0.369
7.62% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount76
totalSentences84
matches
0"Aurora’s boot crunches on something"
1"She pauses, hand dropping to"
2"she says, not looking back"
3"A breath hisses through Nyx’s"
4"they say, voice a whisper"
5"Their fingers brush the Heartstone"
6"she says, stepping into the"
7"Her bare feet don’t press"
8"Aurora kneels, tracing a rune"
9"It’s not English."
10"she says, standing"
11"They shift, solid now—six feet"
12"The pendant burns hotter"
13"Aurora yanks it free, staring"
14"It glows not a warm"
15"Isolde’s lavender eyes narrow."
16"She turns, and Aurora sees"
17"The grass is a deep,"
18"A cluster of golden blooms"
19"Isolde says, gesturing"
ratio0.905
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences84
matches(empty)
ratio0
76.41% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount4
matches
0"Aurora’s boot crunches on something that isn’t gravel—iridescent shards that glow like crushed stained glass."
1"A cluster of golden blooms opens, revealing a center that looks like liquid starlight."
2"Nyx snorts, but it comes out as a gust of wind that bends the moth leaves."
3"Beyond the fray, she sees it: a tear in the Veil, black as pitch, with a glow that hurts her eyes."
50.93% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount4
matches
0"she says, not looking back"
1"she asks, voice loud in the stillness"
2"they say, voice tight"
3"Isolde says, not looking away from the rift"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags21
fancyCount1
fancyTags
0"she yells (yell)"
dialogueSentences50
tagDensity0.42
leniency0.84
rawRatio0.048
effectiveRatio0.04
78.8475%