Run: 2026-02-24-01KJ8TWBZS50SAEGFR4DT5XZ1F

Run Details

Duration:
1m 42s
Cost:
$0.124275
Provider:
Amazon Bedrock

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 glass slipped from Rory's fingers and cracked against the bar top, gin pooling across the lacquered wood like spilled mercury. "Christ, Carter. Still jumpy." She knew the voice before she turned. That particular blend of South Wales vowels and boarding school consonants, the way her surname landed like a punchline. Niall Pemberton stood three feet behind her, hands in the pockets of a charcoal overcoat that cost more than her monthly rent. He smiled, and fifteen years of friendship, three years of silence, and everything in between compressed into the narrow space of a Soho bar. "Niall." "In the flesh." He spread his arms. "Though somewhat less of it." He wasn't wrong. The Niall she remembered from Cardiff had been broad-shouldered, ruddy-cheeked, the sort of boy who filled a rugby shirt as though born inside one. This version wore his clothes like they belonged to someone else. The jawline that emerged from beneath his lost weight was sharp enough to cut, and his eyes, always a shade too pale for his complexion, had sunk into hollows she didn't recognise. His hair, once a mop of unruly curls he spent lectures raking back, sat cropped close to his skull. Behind the bar, Silas polished a glass with mechanical patience, tracking the exchange through peripheral vision. Rory caught the slight shift in his posture, that old intelligence instinct cataloguing the newcomer. "You going to keep staring, or can I sit down?" "Sit." Niall dropped onto the adjacent stool and surveyed the room, the old maps and black-and-white photographs, the dim amber lighting that made everyone look like they had secrets worth keeping. "Interesting choice of local." He ran a finger along a crack in the bar top. "Thought you'd end up somewhere with fairy lights and craft beer menus the size of dissertations." "Thought you'd end up somewhere with a membership fee." "I have." He signalled to Silas. "Whisky. Whatever's least offensive." Silas poured a Talisker without comment, set it down, and moved to the far end of the bar. The silver signet ring on his right hand clinked once against the bottle. It sounded deliberate, though with Silas, everything did. Niall drank half of it in one pull. The old Niall would have savoured it, lectured her about peaty notes and highland terroir, held the glass up to whatever light source was available like a man auditioning for a whisky advert. "Three years," Rory said. "Two years, nine months. Give or take." "You counted." "Force of habit. Barristers track time obsessively. Billable hours, statute limitations, how long it takes a friendship to expire." He finished the whisky. "Turns out, it's about six weeks of unreturned calls." The accusation sat between them like a splinter. Rory picked up her cracked glass, realised it was empty, and set it back down. The pool of gin had spread to where his elbow rested, and he didn't move. "You changed your number," he said. "I changed everything." "I noticed. Had to hear about London from your mother. Your mother, Rory. The woman can hold a conversation hostage for forty-five minutes about the price of apples at Tesco. Imagine what she did with 'my daughter's disappeared to Soho.'" "She told you where I was?" "Not willingly. I pieced it together. She mentioned Eva, Eva mentioned a flat above a bar, and there aren't many bars in Soho with green neon signs shaped like birds." He nodded toward the entrance. "Subtle, that." Rory glanced at Silas. He'd positioned himself within earshot, wiping the same glass he'd been holding five minutes ago. The cloth moved in precise circles. "So you tracked me down." "Don't flatter yourself." Niall signalled for another whisky. "Conference at Gray's Inn. Finished early. Walked south. Spotted the sign. Thought, 'What are the odds?'" "You don't believe in odds. You believe in preparation and advantageous positioning. Your words. Third-year moot court." "Good memory." "Selective memory." That landed. Niall's jaw tightened, the new sharpness of it making the reaction more visible than it would have been on the face she remembered. He turned the empty glass in his hands. "You look different," he said. "I look the same." "No. You look like someone who sleeps. Not well, mind, but the fact that you sleep at all." He paused. "Last time I saw you, you had that look. The one where the lights are on but someone's pulled the wiring out." The crescent-shaped scar on her left wrist caught the bar light. She moved her hand to her lap. "I didn't come here to do this, Niall." "Do what?" "The autopsy. Pick apart the dead thing and work out what killed it." "Who says it's dead?" Silas appeared between them, refilling Niall's glass and placing a fresh gin in front of Rory without her asking. He met her eyes for half a second. A question lived in that look. She shook her head, barely, and he withdrew, his slight limp more pronounced than usual. Damp evening. His knee always predicted rain better than the forecast. Niall watched the exchange. "You've got a minder." "I've got a landlord." "Right. And that's a bar, not a safehouse." He sipped the Talisker this time, slower. Progress. "I won the Cavanagh case." "I saw." "You followed it?" "It was on the front page of everything for a month. Hard to miss." "It was the most complex criminal defence in Welsh legal history. Twenty-eight witnesses. Prosecution had DNA, CCTV, a signed confession they tried to ram through as voluntary." He set the glass down. "And I won." "Congratulations." "Don't. Don't do that." "Do what?" "Congratulate me like I told you I'd cleaned my gutters." His voice dropped. "That should have been us. Both of us. Carter and Pemberton. We had the plan." "We were twenty. Plans at twenty are just decorated wishes." "Yours weren't. You had the sharpest legal mind I've ever encountered, and I've since encountered plenty. You could read case law the way other people read novels, pull the thread that unravelled the whole prosecution in twenty minutes while the rest of us were still underlining the wrong passages." He stared at her. "And now you deliver Chinese food." The words hung in the air, acrid as smoke. "Yu-Fei runs a Cantonese restaurant, actually. Not Chinese." "Rory." "It's a distinction that matters." "So does wasting a first-class mind on egg fried rice." She picked up the gin. Put it down again. The condensation left a circle on her palm. She rubbed it against her jeans. "You didn't call about the case," she said. "What?" "When you won Cavanagh. I kept my email. Same since university. If you wanted to gloat, to reconnect, you had the address. But you didn't write. Not after the verdict, not after the appeal, not after you made senior partner." She turned to face him. "You only came looking now. Two years and nine months later, give or take. So what happened?" The glass in his hand stilled. The bar hummed with low conversation from the scattered tables behind them. Someone fed coins into the old jukebox near the toilets, and Tom Waits growled about the things you lose with time, which would have been on the nose if either of them had been listening. "Alys left," Niall said. "When?" "April." "Kids?" "She took them. Swansea. Her parents' place." Rory processed this. Alys with her broad laugh and her habit of making Welsh cakes at inappropriate hours. Alys who'd once told Rory, at the kitchen table of their Cathays flat, that Niall was the only honest man she'd ever met. "I'm sorry." "Don't be." He passed the rim of the glass across his lower lip without drinking. "I earned it." "Niall." "Different earning than you're imagining. Nothing so dramatic as, what's his name. Evan." He said the name like a verdict. "No bruises. No police reports. Just a slow, methodical disappearance. I became the work. Convinced myself it was for them. The house in Penarth, the school fees, the holidays in Provence. All necessary. All evidence of what a good provider looks like from the outside." He exhaled. "Turns out, children don't need a provider. They need a father who remembers their bedtime." Rory's knuckles whitened around her glass. "You knew," she said. "About Evan." "Everyone knew." "And you did nothing." "I reported my concerns to Eva. I assumed she'd-" "Delegated. You delegated. Like a brief you couldn't be bothered to prep yourself." His throat worked. The pale eyes found the bar top. "Yes." One word. No defence. No mitigation. The barrister who'd dismantled a twenty-eight-witness prosecution sat before her without a single objection. "I rehearsed this," he said. "On the train from Paddington. Three different versions. One angry, one measured, one with a joke at the top to ease into it. All rubbish." "Which version is this?" "The one where I'm shaking and hoping you can't tell." She could tell. His left hand, the one not holding the glass, had a tremor she'd have called imperceptible if she hadn't spent years learning to read the body language of men pretending to hold it together. Behind them, the bookshelf on the far wall caught a sliver of green neon from outside, and Rory noticed Silas had migrated to that end of the bar, near his hidden back room, polishing yet another glass with the attentiveness of a man who could hear everything and would remember all of it. Niall straightened on the stool. Drew himself up to something resembling the rugby player she'd known. "I should go. The hotel's in Bloomsbury. Early train." "Sit down." He stopped, halfway off the stool. "You came to Soho, found the bar, ordered two whiskies, and told me your marriage collapsed. You're not leaving for a Travel Lodge in Bloomsbury." "Premier Inn, actually." "Niall." He sat. The tremor in his hand spread to his jaw. He locked it tight. Rory reached across the bar and took the Talisker bottle Silas had left within arm's reach. She refilled his glass, then poured a measure into her own, gin be damned. "You should have called," she said. "You changed your number." "Not about me. About Alys. About the children. You should have called someone." "I'm calling now." His voice splintered on the last word. He covered it with a cough that convinced nobody. The jukebox clicked to silence. In the gap between songs, the bar felt stripped bare, every surface reflecting light it wasn't designed to hold. The old photographs on the walls stared down at them, strangers frozen in someone else's history, smiling at cameras that no longer existed. "There's a flat upstairs," Rory said. "A sofa. It's uncomfortable and the springs are shot, but the shower works and Silas makes breakfast at seven." "Eight," Silas corrected from the far end of the bar, not looking up. Niall stared at the whisky. His reflection stared back from within the amber, distorted, unrecognisable. "I didn't deserve to lose them." "No." "But I didn't deserve to keep them either." Rory said nothing. She lifted her glass and held it between them, waiting. Niall raised his, hand still trembling, and the clink of cheap glass on cheap glass cut through the silence of the bar like something breaking, or something, after a long time, being set. The front door of The Raven's Nest swung open. Cold air knifed through the room, carrying with it the sound of Soho on a wet evening, taxi horns, laughter, a busker murdering Bowie two streets over. A woman stepped inside, shaking rain from a red umbrella. She scanned the room with the efficiency of someone looking for a specific face. She found it. "Niall Pemberton." Not a question. "Your wife said I'd find you here." Niall's glass froze at his lips. The woman reached into a leather satchel and produced a Manila envelope, thick enough to contain something that would change the shape of a life. Rory looked at Niall. Niall looked at the envelope. The tremor in his hand stopped, replaced by something worse, a perfect, practiced stillness. "Shall I sign here," he said, "or will you need to explain what I've already lost?"
created_at"2026-02-24T22:03:57.831Z" 2/24/2026, 10:03:57 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1553
moderation_latency188
generation_time101655
tokens_prompt4618
tokens_completion3662
native_tokens_prompt4735
native_tokens_completion4024
native_tokens_completion_images(null)
native_tokens_reasoning477
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"
usage0.124275
router(null)
provider_responses
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endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
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is_byokfalse
latency1468
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771970637-4XSpcesRPFaWhKhxjSCf"
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provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags27
adverbTagCount0
adverbTags(empty)
dialogueSentences102
tagDensity0.265
leniency0.529
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2028
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
72.88% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2028
totalAiIsms11
found
0
word"silence"
count3
1
word"weight"
count1
2
word"mechanical"
count1
3
word"complex"
count1
4
word"processed"
count1
5
word"methodical"
count1
6
word"measured"
count1
7
word"scanned"
count1
8
word"perfect"
count1
highlights
0"silence"
1"weight"
2"mechanical"
3"complex"
4"processed"
5"methodical"
6"measured"
7"scanned"
8"perfect"
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
emotionTells0
narrationSentences113
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences113
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences187
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen54
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2028
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions25
unquotedAttributions0
matches(empty)
77.78% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions58
wordCount1177
uniqueNames18
maxNameDensity1.44
worstName"Niall"
maxWindowNameDensity2.5
worstWindowName"Niall"
discoveredNames
Rory14
South1
Wales1
Pemberton1
Soho2
Niall17
Cardiff1
Silas9
Talisker3
Progress1
Tom1
Waits1
Welsh1
Cathays1
Raven1
Nest1
Bowie1
Manila1
persons
0"Rory"
1"Pemberton"
2"Niall"
3"Silas"
4"Tom"
5"Waits"
6"Raven"
7"Nest"
places
0"South"
1"Wales"
2"Soho"
3"Cardiff"
4"Manila"
globalScore0.778
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences68
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.493
wordCount2028
matches
0"Not well, mind, but the fact"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences187
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs117
mean17.33
std18.65
cv1.076
sampleLengths
021
14
272
31
412
589
631
710
81
930
1031
119
1210
1339
1441
154
167
172
1832
1938
206
213
2240
236
2437
2525
265
2724
2817
292
302
3133
325
334
3442
3518
368
372
3813
394
4059
414
424
434
4421
452
463
4714
4835
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences113
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs211
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences187
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1184
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.02787162162162162
lyAdverbCount4
lyAdverbRatio0.0033783783783783786
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences187
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences187
mean10.84
std10.1
cv0.931
sampleLengths
021
14
27
319
422
524
61
77
85
93
1024
1111
1232
1319
1416
1515
1610
171
1830
1915
2016
219
226
234
2418
2513
268
278
2833
294
307
312
3223
339
348
3515
3615
376
383
3940
406
4135
422
434
4415
456
465
478
4816
4917
55.79% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.36363636363636365
totalSentences187
uniqueOpeners68
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences94
matches(empty)
ratio0
62.55% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences94
matches
0"She knew the voice before"
1"He smiled, and fifteen years"
2"He spread his arms"
3"He wasn't wrong."
4"His hair, once a mop"
5"He ran a finger along"
6"He signalled to Silas"
7"It sounded deliberate, though with"
8"He finished the whisky"
9"He nodded toward the entrance"
10"He'd positioned himself within earshot,"
11"He turned the empty glass"
12"She moved her hand to"
13"He met her eyes for"
14"She shook her head, barely,"
15"His knee always predicted rain"
16"He sipped the Talisker this"
17"He set the glass down"
18"His voice dropped"
19"He stared at her"
ratio0.394
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount87
totalSentences94
matches
0"The glass slipped from Rory's"
1"She knew the voice before"
2"That particular blend of South"
3"Niall Pemberton stood three feet"
4"He smiled, and fifteen years"
5"He spread his arms"
6"He wasn't wrong."
7"The Niall she remembered from"
8"This version wore his clothes"
9"The jawline that emerged from"
10"His hair, once a mop"
11"Rory caught the slight shift"
12"Niall dropped onto the adjacent"
13"He ran a finger along"
14"He signalled to Silas"
15"Silas poured a Talisker without"
16"The silver signet ring on"
17"It sounded deliberate, though with"
18"Niall drank half of it"
19"The old Niall would have"
ratio0.926
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences94
matches(empty)
ratio0
55.75% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount5
matches
0"The Niall she remembered from Cardiff had been broad-shouldered, ruddy-cheeked, the sort of boy who filled a rugby shirt as though born inside one."
1"The jawline that emerged from beneath his lost weight was sharp enough to cut, and his eyes, always a shade too pale for his complexion, had sunk into hollows s…"
2"Someone fed coins into the old jukebox near the toilets, and Tom Waits growled about the things you lose with time, which would have been on the nose if either …"
3"The barrister who'd dismantled a twenty-eight-witness prosecution sat before her without a single objection."
4"Behind them, the bookshelf on the far wall caught a sliver of green neon from outside, and Rory noticed Silas had migrated to that end of the bar, near his hidd…"
87.96% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount2
matches
0"He sipped, slower"
1"Silas corrected, not looking up"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount1
fancyTags
0"Silas corrected (correct)"
dialogueSentences102
tagDensity0.118
leniency0.235
rawRatio0.083
effectiveRatio0.02
83.7574%