Run: 2026-02-20-01KHYB2A3SMVM66TGA1AKR638K

Run Details

Duration:
34.9s
Cost:
$0.001652
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 knock came at 11:17 p.m., sharp and insistent. Rory Carter paused mid-cup of tea, the chipped mug clinking against the saucer. Silas’ bar below hummed with laughter, but the knock wasn’t drunk guests testing the intercom. She set the mug down, wiped her palms on her apron—still stained with last night’s chili—and crossed to the door. To her left, the peephole fogged where she’d exhaled, but she didn’t need to check. Only one person in London had a cane that tapped like a metronome on her floorboards. *Bastard.* She turned the deadbolts, each click a sharp punctuation, and yanked the door open. “Rory.” Lucien Moreau. His voice was a low purr, the kind that used to make her knees weak. *Used to* being the operative word. He stood there, as he always did—too tall, too put-together. Platinum-blond hair slicked back, charcoal suit pressed so sharply it could cut, ivory cane propped at his side. His heterochromatic eyes—amber, black—locked onto hers, unblinking. A scar ran diagonal across his left cheek, new, angry red. “You’re late.” The words came out sharper than she meant. She stepped back, letting the door swing open. “Get out.” He didn’t move. “I need your help.” “*Need*,” she echoed. A laugh, cold and bitter. “You haven’t *needed* anything since you skipped town three years ago. Or did you just forget how to knock?” He tilted his head. The cat, Ptolemy, stirred from the armchair, tail flicking. The tabby regarded Lucien like he’d just spat at its mother. “Ptolemy remembers you,” the Frenchman said, as if that explained anything. “He still hisses. Not often, but when he does, it’s *personal*.” Rory’s jaw tightened. She folded her arms, the scar on her left wrist—crescent, childhood—itching. “He also hisses at the postman. Don’t take it personally.” “Postmen don’t have… *reasons*,” he said. His gaze flicked past her, to the stack of books on the coffee table—John le Carré, a dog-eared copy of *The Prince*, a journal she’d been translating from Welsh. “Still diving into the old tongue, then?” “Still *surviving*,” she shot back. “Unlike some people I know.” His cane tapped the floor once, twice. “You know why I’m here. The boy from Cardiff—Evan. You told me he was trouble. Told me to keep an eye on you.” Rory’s breath hitched. Evan. *Evan*, whose hands had bruise-marked her thighs and who’d laughed when she’d cried. *Evan*, whom she’d left with a broken nose and a note that said *Stay away* written in his own blood. Lucien had found her after that, pacing the canal, eyes dark with something she’d learned to recognize—*grief*. For what, she’d never known. Until he’d vanished. “You weren’t watching. You were *running*.” “I was *protecting* you.” “*Protecting* me?” She stepped closer, so close she could smell his cologne—sandalwood, smoke, something metallic. “From *what*? From your bar bets? From the fact that you’re half-demon and you’re too much of a coward to tell me?” He flinched. Just once, a fraction of a second. But Rory saw it. She’d seen the way his eyes turned pitch-black when he was angry, the way his skin rippled like water when he laughed too hard. Evan had never hurt her *badly*. Never *permanently*. But Lucien… his kind didn’t forgive. Or forget. “You think I wanted to go?” His voice was quieter now, the purr gone. “My father came to London. Avaros doesn’t take kindly to half-breeds meddling. They sent *him* to bring me back.” “Your *father*.” Rory’s throat felt tight. She stepped back, hitting the doorframe. “And you left. Just like that. Left me to… to wonder what I’d done wrong.” “Everything,” he said. The words hung in the air, heavy. “Because if you’d never opened your mouth about Evan, if you’d never *seen* meI could have kept you safe. But you *saw* me. All of me. And now they know. They’ll come for you.” Rory laughed, but it came out as a sob. “They’re already here, aren’t they? That’s why you’re here. You need me to fix something you broke.” “No,” he said, taking a step forward. She didn’t move. “I need you to *listen*. The journal you’re translating—*Y Gogyn Seintiau*—it’s a key. To a vault. Somewhere in the Welsh mountains. Avaros wants it. To open a rift. To cross.” She stared. The journal. She’d been working on it for weeks, a fragment of her mother’s old books, never suspecting it was more than a ghost story. “Why me?” “Because it’s *yours*. Your mother wrote it. She was a scholar. A *warrior*. She found the vault. She *stopped* them once. If anyone can find it again… it’s you.” “Why? Why not go yourself?” “Because if they see me, they’ll kill you. Using you as a bargain. I can’t let that happen.” He paused, then added, “I never stopped.” Rory closed her eyes. For a second, she was 22 again, sitting on her parents’ couch, crying because Evan had called her a *slut* and Lucien had shown up, silent, holding a bottle of whiskey. *“You don’t have to stay,”* he’d said. *“I’ll take you anywhere.”* And she’d said yes. Because she’d thought—*finally*—someone was taking her away from the dark. But the dark had found her anyway. “You should leave,” she said, opening her eyes. “And don’t come back. I’m done with your games.” He reached into his suit jacket, pulled out a key. It was brass, engraved with a dragon—her mother’s symbol. “This unlocks the vault. But you need to know the rift’s not just magic. It’s *hunger*. It’ll eat you alive if you touch it. Especially if you’re human.” Her hand flew to her throat. Her mother had died in a house fire when Rory was 14. The insurance company called it an accident. Rory had never believed them. “You knew,” she said. “You *knew* and you didn’t tell me.” “I was trying to protect you!” He stepped closer, and this time, she didn’t move away. “I loved you. God help me, I *loved* you. And loving you was the easiest thing I’ve ever done. The hardest… was walking away.” The words hit her like a fist. *Loved*. Not *love*. Past tense. She pressed a hand to her chest, over her heart. It was racing. *Stupid*, she thought. *Stupid, stupid, stupid*. A crash from the street below made them jump. Sirens. Closer. Lucien’s head snapped toward the window. “They’re here. Now.” Rory followed his gaze. A black van idled across the road, its windows tinted. Shadows moved inside—too many shadows, too still. “Lock the door,” he said. “Now.” She fumbled for the deadbolts, her hands shaking. Ptolemy hissed, leaping off the armchair. Lucien unsheathed the blade from his cane, the ivory handle glinting in the streetlight. “Who are they?” she whispered. “Collectors. Avaros sent them to clean up loose ends.” He turned to her, his amber eye blazing. “And you’re the loose end I should have never let go.” The van’s doors slamed open. Boots hit the pavement. Heavy, deliberate steps. “Rory,” Lucien said, taking her hand. His skin was cold, like marble. “I’m sorry. For everything. But you have to trust me. The vault—” “*Run*,” she said. He didn’t move. “Stay close. Keep the key safe. And if they touch you—” “*GO!*” The first window shattered. Rory shoved him backward, fumbling with the chain lock. Lucien stumbled, then caught his balance, the blade still in his hand. The second window blew out. A bullet pinged off the wall beside them. “Take the fire escape!” he yelled. “It leads to the roof—” “*You* take it!” She fumbled the chain, yanking it loose. “If I die, at least you don’t have to carry this guilt anymore. Jesus Christ, Lucien—*run*.” He hesitated, then turned. The third window exploded. A shadow filled the doorway—tall, lean, faces hidden in hoods. One of them raised a gun. Rory didn’t think. She grabbed the key from his hand, jammed it into the lock, and pulled. The door flew open, and she ran. The fire escape ladder groaned under her weight. She climbed, her breath ragged, her heart pounding. Below, she heard Lucien’s cane hit the pavement, then a *shriek*—not human. A bullet grazed her arm. She fell, catching herself on the rungs, and pulled herself up, gasping. The roof door was locked. She fumbled for her keys, found the tiny lockpick she kept in her pocket, and jimmied it open. The door swung inward. Behind her, the ladder creaked. She turned. Lucien was there, blood trickling down his cheek from the scar. His amber eye was black, the skin around it shifting, rippling. He raised his cane—the blade still extended. “Run,” he said. “To the vault. Now.” A gunshot. Lucien staggered. The cane clattered to the ground. He fell to his knees, his suit torn, a bullet hole in his shoulder. Rory lunged to him, catching him before he hit the roof. “Jesus Christ, are you—” “*Vault*,” he said, pressing the key into her hand. His voice was weak, but urgent. “The rift—its core is in the vault. Destroy it. Before they do.” Another shadow on the fire escape. A man, tall, with horns. Horns that *bled*. Rory looked down at Lucien. His hand was on her wrist, his fingers cold. “Why?” she said. “All of it. Why did you come back?” He smiled, a roguish thing, and for a second, she was 22 again, sitting on that rooftop in Cardiff, watching the stars. “Because even demons have hearts,” he said. “And yours… it’s the only one that’s ever stopped mine from burning out.” The man on the ladder drew a knife. Rory stood, tucking the key into her pocket. She pulled Lucien to his feet, half-carrying him toward the roof door. “*Rory*,” he said, his voice breaking. “Don’t—” “I know,” she said. “You’re going to tell me I’m being stupid. That demons don’t have hearts. That love is a weakness.” He laughed, a wet, hacking sound. “You *do* know me.” The man reached the roof. Rory pushed Lucien through the door. “Lock it. And for God’s sake, *run*.” He didn’t move. “Stay—” “*GO!*” The man was on them. Rory ducked, grabbing a rusted pipe from the corner. The blade sliced through the air. She swung, hitting the man in the arm. He grunted, but didn’t fall. “Go!” she yelled again, louder. Lucien hesitated, then turned. The door slammed shut. Rory fought. She kicked, she bit, she swung the pipe until her arms ached. The man fell, but another climbed the ladder. She didn’t see him come. A blow to the back sent her to her knees. The taste of blood filled her mouth. She looked at the key in her pocket, its brass warm against her skin. *Her mother’s symbol*. *Her fight*. The man raised the blade. A roar split the air. Rory looked up. Lucien stood at the roof door, his cane in his hand, the blade extended. His face was no longer human—black eyes, horns, skin like cracked obsidian. The man froze. “Get out,” Lucien said, his voice deep, *demonic*. “Before I change my mind.” The man backed away, the other demons following. He reached the ladder, then paused, looking back. “You’ll pay for this, half-breed. For the vault—” “*I* am the vault,” Lucien said. “Go tell your king. If he wants it, he’ll have to come through me.” The ladder creaked as they climbed down. The van roared away. Silence. Rory collapsed, the pipe clattering from her hand. She looked up at Lucien. His eyes were amber again, his horns and black skin gone. His shoulder was bleeding through his suit, but he was standing. “Are you…” she said. “Fine.” He staggered, but caught himself. “Now. The vault. You need to go. Tonight.” She shook her head. “You’re hurt. You need—” “Later.” He stepped closer, brushing a strand of hair from her face. His thumb traced her lower lip, slow, deliberate. “I need you to know something. I never left. Not really. I’ve been watching. Waiting. For you to be strong enough to handle the truth. To handle *me*.” Her hand went to his cheek, the scar still raw. “I’m still here,” she said. “Stupid, stubborn, *here*.” He smiled, then kissed her. It was hard, urgent, like he was trying to memorize the shape of her mouth. She kissed him back, her arms around his neck, her key digging into her palm. The siren wailed again, but they ignored it. The world outside didn’t exist anymore. Only the two of them, and the key in her pocket, and the vault in the Welsh mountains, and the end of the night—finally, *finally*—beginning. A noise from the street below made them pull apart. Lucien grabbed his cane. “They’re not done. But they will be. Now go. Take the 11:47 to Cardiff. I’ll meet you there. By dawn.” She hesitated. “What if I can’t—” “*You can*.” He pressed a kiss to her forehead. “Because you’re Rory Carter. And you always have been.” She nodded, then ran to the fire escape. She climbed down, the key in her pocket, the wind in her hair. Behind her, the roof door locked. Somewhere, a clock chimed midnight. Rory smiled. It was time to finish what her mother had started. And this time, she wouldn’t need anyone to save her. She’d save herself. And the man who’d come back to her. The man who, for once, had stayed.
created_at"2026-02-20T20:15:10.993Z" 2/20/2026, 8:15:10 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
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cancelledfalse
latency452
moderation_latency(null)
generation_time34737
tokens_prompt4556
tokens_completion4664
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native_tokens_completion4378
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native_tokens_reasoning923
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num_input_audio_prompt(null)
num_media_completion0
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
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endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
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latency379
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags37
adverbTagCount2
adverbTags
0"He paused then [then]"
1"she yelled again [again]"
dialogueSentences90
tagDensity0.411
leniency0.822
rawRatio0.054
effectiveRatio0.044
95.57% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2258
totalAiIsmAdverbs2
found
0
adverb"sharply"
count1
1
adverb"really"
count1
highlights
0"sharply"
1"really"
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)
77.86% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2258
totalAiIsms10
found
0
word"echoed"
count1
1
word"flicked"
count1
2
word"racing"
count1
3
word"glinting"
count1
4
word"marble"
count1
5
word"shattered"
count1
6
word"weight"
count1
7
word"pounding"
count1
8
word"silence"
count1
9
word"traced"
count1
highlights
0"echoed"
1"flicked"
2"racing"
3"glinting"
4"marble"
5"shattered"
6"weight"
7"pounding"
8"silence"
9"traced"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences214
matches
0"was angry"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences214
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences267
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans57
markdownWords75
totalWords2231
ratio0.034
matches
0"Bastard."
1"Used to"
2"Need"
3"needed"
4"personal"
5"reasons"
6"The Prince"
7"surviving"
8"Evan"
9"Evan"
10"Stay away"
11"grief"
12"running"
13"protecting"
14"Protecting"
15"what"
16"badly"
17"permanently"
18"him"
19"father"
20"seen"
21"saw"
22"listen"
23"Y Gogyn Seintiau"
24"yours"
25"warrior"
26"stopped"
27"slut"
28"“You don’t have to stay,”"
29"“I’ll take you anywhere.”"
30"finally"
31"hunger"
32"knew"
33"loved"
34"Loved"
35"love"
36"Stupid"
37"Stupid, stupid, stupid"
38"Run"
39"GO!"
40"You"
41"run"
42"shriek"
43"Vault"
44"bled"
45"Rory"
46"do"
47"run"
48"GO!"
49"Her mother’s symbol"
50"Her fight"
51"demonic"
52"I"
53"me"
54"here"
55"finally"
56"You can"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions38
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1509
uniqueNames11
maxNameDensity1.39
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Carter1
London1
Moreau1
Ptolemy2
Lucien20
Frenchman1
Rory21
John1
Carré1
Welsh2
Cardiff1
persons
0"Carter"
1"Moreau"
2"Ptolemy"
3"Lucien"
4"Frenchman"
5"Rory"
6"John"
places
0"London"
1"Welsh"
2"Cardiff"
globalScore0.804
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences116
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.448
wordCount2231
matches
0"Not often, but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences267
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs107
mean20.85
std16.02
cv0.769
sampleLengths
088
11
214
324
446
520
67
727
846
924
1042
1110
1230
1368
144
1537
1653
1733
1827
1945
2026
2140
2229
2329
245
2525
2660
277
2817
2947
3030
3111
3240
3331
3411
359
3621
376
3828
395
4028
4112
4224
433
4414
451
464
4734
4811
4926
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences214
matches(empty)
92.82% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs311
matches
0"was taking"
1"was racing"
2"was bleeding was standing"
3"was trying"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount20
semicolonCount0
flaggedSentences15
totalSentences267
ratio0.056
matches
0"She set the mug down, wiped her palms on her apron—still stained with last night’s chili—and crossed to the door."
1"He stood there, as he always did—too tall, too put-together."
2"His heterochromatic eyes—amber, black—locked onto hers, unblinking."
3"She folded her arms, the scar on her left wrist—crescent, childhood—itching."
4"His gaze flicked past her, to the stack of books on the coffee table—John le Carré, a dog-eared copy of *The Prince*, a journal she’d been translating from Welsh."
5"Lucien had found her after that, pacing the canal, eyes dark with something she’d learned to recognize—*grief*."
6"“*Protecting* me?” She stepped closer, so close she could smell his cologne—sandalwood, smoke, something metallic."
7"Because she’d thought—*finally*—someone was taking her away from the dark."
8"It was brass, engraved with a dragon—her mother’s symbol."
9"Shadows moved inside—too many shadows, too still."
10"A shadow filled the doorway—tall, lean, faces hidden in hoods."
11"Below, she heard Lucien’s cane hit the pavement, then a *shriek*—not human."
12"He raised his cane—the blade still extended."
13"His face was no longer human—black eyes, horns, skin like cracked obsidian."
14"Only the two of them, and the key in her pocket, and the vault in the Welsh mountains, and the end of the night—finally, *finally*—beginning."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount550
adjectiveStacks0
stackExamples(empty)
adverbCount21
adverbRatio0.038181818181818185
lyAdverbCount4
lyAdverbRatio0.007272727272727273
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences267
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences267
mean8.36
std6.22
cv0.745
sampleLengths
09
113
215
320
415
516
61
714
83
915
106
1110
1218
137
1411
1510
168
172
183
194
203
215
2219
234
249
2511
2611
2711
283
2911
3010
316
3229
337
345
355
367
3723
383
391
4013
4120
4217
435
443
456
464
4715
4822
492
44.76% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2808988764044944
totalSentences267
uniqueOpeners75
75.76% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences176
matches
0"Only one person in London"
1"Just once, a fraction of"
2"Only the two of them,"
3"Somewhere, a clock chimed midnight."
ratio0.023
49.55% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount75
totalSentences176
matches
0"She set the mug down,"
1"She turned the deadbolts, each"
2"His voice was a low"
3"He stood there, as he"
4"His heterochromatic eyes—amber, black—locked onto"
5"She stepped back, letting the"
6"He didn’t move."
7"He tilted his head."
8"She folded her arms, the"
9"His gaze flicked past her,"
10"she shot back"
11"His cane tapped the floor"
12"She stepped closer, so close"
13"She’d seen the way his"
14"his kind didn’t forgive."
15"His voice was quieter now,"
16"She stepped back, hitting the"
17"he said, taking a step"
18"She didn’t move."
19"She’d been working on it"
ratio0.426
25.34% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount153
totalSentences176
matches
0"The knock came at 11:17"
1"Rory Carter paused mid-cup of"
2"She set the mug down,"
3"She turned the deadbolts, each"
4"His voice was a low"
5"He stood there, as he"
6"His heterochromatic eyes—amber, black—locked onto"
7"A scar ran diagonal across"
8"The words came out sharper"
9"She stepped back, letting the"
10"He didn’t move."
11"A laugh, cold and bitter."
12"He tilted his head."
13"The cat, Ptolemy, stirred from"
14"The tabby regarded Lucien like"
15"the Frenchman said, as if"
16"Rory’s jaw tightened."
17"She folded her arms, the"
18"His gaze flicked past her,"
19"she shot back"
ratio0.869
56.82% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences176
matches
0"To her left, the peephole"
1"Because she’d thought—*finally*—someone was taking"
ratio0.011
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount0
matches(empty)
57.43% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags37
uselessAdditionCount5
matches
0"the Frenchman said, as if that explained anything"
1"He turned, his amber eye blazing"
2"he said, his voice breaking"
3"she yelled again, louder"
4"Lucien said, his voice deep, *demonic*"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags23
fancyCount4
fancyTags
0"she whispered (whisper)"
1"he yelled (yell)"
2"she yelled again (yell)"
3"He pressed (press)"
dialogueSentences90
tagDensity0.256
leniency0.511
rawRatio0.174
effectiveRatio0.089
84.7521%