Run: 2026-02-24-01KJ8TXD84F5AAP312503P3DGY

Run Details

Duration:
1m 29s
Cost:
$0.103435
Provider:
Amazon Bedrock

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
The pendant burned against Rory's collarbone the moment she stepped between the oaks. Not the faint pulse she'd grown accustomed to, that gentle heartbeat warmth it gave off near the rift points Nyx had shown her in Bermondsey and under Waterloo Bridge. This was different. The crimson gemstone flared hot enough to make her flinch, and when she pressed her palm flat against it through her jacket, the heat sank into her fingers and held on like something alive. "That's new." "The Grove remembers what you carry." Nyx's voice drifted from somewhere to her left, though she couldn't pin exactly where. Their form had thinned to a smear of violet-edged darkness winding between the tree trunks. "Dymasian stone crossing into Fae-touched earth. The old magics don't mix well." Rory kept her hand over the pendant and walked on. Richmond Park in November should have been bare branches and frost-stiffened mud. She'd jogged here twice with Eva last spring, knew the paths, the deer enclosures, the coffee van near the car park. What lay before her now bore no resemblance to any of that. The standing stones, seven of them, had looked like ordinary oaks from the outside, gnarled and unremarkable. But the moment she'd passed between the two largest, the world behind her, well, it hadn't vanished. She could still see it if she turned. Grey sky, brown grass, the distant silhouette of a jogger. All of it played out behind a faint shimmer, like heat rising off summer tarmac. Ahead, everything was wrong. Beautifully, impossibly wrong. The clearing stretched wider than any space the park should have contained, bordered by trees she couldn't name, trees with bark the colour of burnt copper and leaves that shifted between green and silver depending on which way she tilted her head. Wildflowers carpeted the ground in scattered constellations, purples and golds and a shade of blue she'd only ever seen in stained glass. They swayed in a breeze she couldn't feel. The air itself tasted different, thinner but richer somehow, like the first breath after climbing a mountain, tinged with something floral and old. "Don't touch the flowers." "Wasn't going to." "You were leaning." Rory straightened up. Fine. She'd been leaning. The silence bothered her most. Not silence exactly, but the absence of the right sounds. No traffic hum. No planes overhead. No bird calls she recognised. Instead, a low, continuous tone hung in the air, somewhere between a cello's resonance and the ring of wet crystal. It lived at the edge of hearing, felt more in the chest than the ears. She glanced down. The grass beneath her trainers left impressions, each footprint filling slowly with a faint luminescence that faded after a few seconds. She stopped, stepped back, watched the glow pool and dissolve. "This place is recording us." "Noticing." Nyx coalesced beside her, their form more defined now, a tall humanoid silhouette of ink and smoke. Violet pinpricks where eyes should be studied the glowing footprints. "The Grove sits between. Earth and Fae, layered over each other like pages pressed together. The boundary remembers everything that crosses it." "Reassuring." "It wasn't meant to be." They moved deeper. The copper-barked trees grew denser, their canopy weaving overhead into a lattice that filtered light from a source Rory couldn't locate. No sun visible. No sky, exactly. Just a warm ambient glow, the colour of late afternoon in a place where afternoon might not exist. She reached for a low-hanging branch and caught herself a centimetre away. The bark pulsed. Faintly, rhythmically. Like a heartbeat. "Nyx." "I see it." "The trees are alive." "All trees are alive." "You know what I mean." Up close, she could see it, thin veins of silver running through the copper bark, carrying light the way blood vessels carry, well, blood. The pulse moved from root to canopy in slow, measured waves. She held her breath and counted. One pulse every four seconds. Every tree she could see shared the same rhythm. "They're synchronised." "One organism." Nyx's whisper carried that particular quality it always did, like hearing someone speak through a wall in a house you shouldn't be inside. "The Grove isn't a forest. It's a body. We're walking through it." The pendant gave another sharp flare. Rory hissed and tugged the silver chain, pulling the Heartstone free of her collar. The deep crimson gemstone pulsed in counterpoint to the trees, its rhythm faster, agitated. She held it at arm's length and turned in a slow circle. The glow intensified when she faced north, or what she assumed was north. The direction where the trees grew thickest. "That way." "Obviously." They pressed on through a corridor of copper trunks. The undergrowth here had changed, the cheerful wildflowers replaced by something more deliberate. Low hedges of a plant with leaves like folded parchment, arranged in patterns too geometric to be natural. Spirals. Interlocking circles. Rory recognised a few from the symbols Nyx had sketched for her on napkins at Silas's bar, basic ward configurations. "Defensive garden." "Ward garden," Nyx corrected. "Designed to slow anything with hostile intent. You're not feeling sluggish?" "Should I be?" "No. That's interesting." The path, and it was a path now, flagstones of pale stone half-buried in moss, wound between the ward hedges and opened into a second clearing. This one was smaller, more intimate, ringed by standing stones of a different kind. Not oak trees disguised as pillars, but actual stones, waist-high, carved with script that moved when Rory looked at it directly. She'd learned that trick by now. Fae markings only held still in peripheral vision. Stare at them head-on and they slithered like eels. At the centre of the clearing sat a well. No bucket, no rope, no quaint little roof. Just a circle of pale stone rising knee-high from the earth, its interior dark and still. Rory approached it and looked over the rim. The water, if it was water, reflected nothing. Not her face, not the sourceless light above, not the purple wildflowers dotting the rim. It was the blackest surface she had ever seen, a hole cut into the fabric of the ground and filled with absence. "Don't." "I'm just looking." "The well looks back." She pulled away. Slowly, as if speed might offend it. Something chimed. Not the ambient tone that permeated the Grove, but a bright, clear note, like someone striking a tuning fork against bone. It came from everywhere and nowhere, and when it faded, the silence that replaced it was different. Watchful. A voice filled the clearing. "The stone you wear was forged in fire that feeds on wanting." The words arrived without direction, without source, as if the copper-barked trees had learned to speak. "The blade you carry was made from grief pressed into metal. Together they sing a song I haven't heard in a hundred years." Rory's hand moved to the leaf-shaped dagger at her hip. The Fae blade Isolde had given her through intermediaries, passed hand to hand through a chain of drops until it reached Nyx, who'd left it on her kitchen counter beside a note that read simply: *You'll need this soon.* The moonsilver felt like touching ice water, even through the sheath. A figure stepped from between two standing stones, though *stepped* wasn't quite right. She was simply not there, and then she was, the way a memory surfaces without warning. Silver hair to her waist. Pale lavender eyes that held the unfocused quality of someone watching two things at once, one of them somewhere else entirely. Isolde Varga left no footprints on the luminous grass. "The Seer." Nyx's form flickered, a ripple of something Rory hadn't seen from them before. Deference, possibly. Their violet eyes dimmed. "The Shadow." Isolde smiled. It reached exactly halfway up her face and stopped. "Still wearing Aldric's guilt, I see. It fits you poorly." "We came for answers." "Everyone does." Those lavender eyes shifted to Rory, and the sensation of being examined by them was physical, a pressure behind the forehead, like the onset of a migraine. "The Carter girl. You look like your grandmother." Rory's mouth dried. "You knew my grandmother?" "I know everyone's grandmother. That's the trouble with time, it moves in all directions when you stop pretending it doesn't." Isolde circled the well, trailing her fingers along its rim. Where she touched, the black surface below rippled outward in concentric rings. "Ask your question." "The Veil's thinning. We've counted six rift points in South London alone in the past month. Something's pushing through." "That's not a question." Rory gritted her teeth. "What's pushing through?" "Ah." Isolde stopped circling. The ripples in the well stilled. "That's the wrong one, but I'll allow it because you don't yet know the right one." She pressed both palms flat against the well's rim. The black water, the not-water, surged upward in a smooth column, defying every law Rory had memorised and forgotten in Cardiff. It didn't splash or spill. It rose like smoke frozen in glass, and inside its darkness, shapes moved. A city Rory didn't recognise, bathed in warm amber light. Sprawling vineyards. Orchards laden with fruit that seemed to glow. Grand tables stretching the length of avenues, laden with food, and figures seated at them, eating, their faces blank, their hands moving mechanically from plate to mouth. "Dymas," Nyx whispered. "Dymas," Isolde confirmed. "And its prince grows hungry for more than what he has." The column of black water twisted. The amber-lit feast hall dissolved, replaced by something closer, familiar. The Thames at night. Tower Bridge. And along the riverbank, hairline fractures in the air itself, barely visible, like scratches on glass, each one leaking a warm golden light that had no business existing in London. "Belphegor's not pushing through." Isolde lifted her hands from the rim. The column collapsed back into the well without a sound. "He's being invited." The pendant at Rory's throat blazed white-hot. She grabbed it, ready to rip the chain free, and froze. The crimson gemstone had changed. A sigil glowed inside it, visible through the facets, turning slowly like something submerged. Isolde studied it with an expression Rory couldn't parse. "You asked what's pushing through. The answer is: the one who gave you that."
created_at"2026-02-24T22:04:31.888Z" 2/24/2026, 10:04:31 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1767
moderation_latency237
generation_time88772
tokens_prompt5338
tokens_completion2876
native_tokens_prompt5577
native_tokens_completion3022
native_tokens_completion_images(null)
native_tokens_reasoning165
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"
usage0.103435
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"be2f3277-3918-48d2-b512-be8ff8dd3a75"
is_byokfalse
latency1622
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771970671-BXhk2DxYwosXppGxuyxo"
upstream_id"be2f3277-3918-48d2-b512-be8ff8dd3a75"
total_cost0.103435
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags12
adverbTagCount0
adverbTags(empty)
dialogueSentences51
tagDensity0.235
leniency0.471
rawRatio0
effectiveRatio0
91.22% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1709
totalAiIsmAdverbs3
found
0
adverb"slowly"
count3
highlights
0"slowly"
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)
53.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1709
totalAiIsms16
found
0
word"pulse"
count3
1
word"warmth"
count1
2
word"tinged"
count1
3
word"silence"
count3
4
word"resonance"
count1
5
word"crystal"
count1
6
word"pulsed"
count2
7
word"measured"
count1
8
word"whisper"
count1
9
word"flickered"
count1
10
word"familiar"
count1
highlights
0"pulse"
1"warmth"
2"tinged"
3"silence"
4"resonance"
5"crystal"
6"pulsed"
7"measured"
8"whisper"
9"flickered"
10"familiar"
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
narrationSentences126
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences126
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences165
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords5
totalWords1709
ratio0.003
matches
0"You'll need this soon."
1"stepped"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1413
uniqueNames19
maxNameDensity1.2
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Rory17
Nyx9
Bermondsey1
Waterloo1
Bridge2
Park1
November1
Eva1
Violet1
Heartstone1
Silas1
Grove1
Fae2
Isolde8
Varga1
Deference1
Cardiff1
Thames1
London1
persons
0"Rory"
1"Nyx"
2"Eva"
3"Heartstone"
4"Silas"
5"Isolde"
6"Varga"
places
0"Bermondsey"
1"Waterloo"
2"Bridge"
3"Park"
4"Cardiff"
5"Thames"
6"London"
globalScore0.898
windowScore0.667
63.79% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount3
matches
0"looked like ordinary oaks from the outsid"
1"felt like touching ice water, even thro"
2"fruit that seemed to glow"
24.46% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.755
wordCount1709
matches
0"Not silence exactly, but the absence of the right sounds"
1"Not oak trees disguised as pillars, but actual stones, waist-high, carved with script"
2"Not the ambient tone that permeated the Grove, but a bright, clear note, like someone striking a tuning fork ag"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences165
matches
0"learned that trick"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean24.77
std27.49
cv1.11
sampleLengths
013
166
22
347
410
5112
67
795
84
93
103
117
1261
1334
145
1550
161
175
1848
1920
201
213
224
234
245
2555
262
2737
2866
292
301
3163
322
3315
343
353
3684
379
3877
391
403
414
4210
4341
445
4551
4660
4755
489
4921
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences126
matches
0"being examined"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs232
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences165
ratio0
matches(empty)
98.80% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1426
adjectiveStacks0
stackExamples(empty)
adverbCount59
adverbRatio0.04137447405329593
lyAdverbCount20
lyAdverbRatio0.014025245441795231
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences165
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences165
mean10.36
std8.44
cv0.815
sampleLengths
013
129
23
334
42
520
615
712
810
912
1021
1112
1217
1317
148
1510
1615
174
183
1942
2022
218
2223
234
243
253
263
271
283
295
3010
313
323
335
3420
3515
363
3721
3810
395
4018
4110
4222
431
445
453
4621
473
483
4918
62.63% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.4121212121212121
totalSentences165
uniqueOpeners68
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences113
matches
0"Beautifully, impossibly wrong."
1"Instead, a low, continuous tone"
2"Just a warm ambient glow,"
3"Just a circle of pale"
4"Slowly, as if speed might"
ratio0.044
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences113
matches
0"Their form had thinned to"
1"She'd jogged here twice with"
2"She could still see it"
3"They swayed in a breeze"
4"She'd been leaning."
5"It lived at the edge"
6"She glanced down."
7"She stopped, stepped back, watched"
8"They moved deeper."
9"She reached for a low-hanging"
10"She held her breath and"
11"She held it at arm's"
12"They pressed on through a"
13"She'd learned that trick by"
14"It was the blackest surface"
15"She pulled away."
16"It came from everywhere and"
17"She was simply not there,"
18"Their violet eyes dimmed."
19"It reached exactly halfway up"
ratio0.212
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount81
totalSentences113
matches
0"The pendant burned against Rory's"
1"This was different."
2"The crimson gemstone flared hot"
3"Nyx's voice drifted from somewhere"
4"Their form had thinned to"
5"Rory kept her hand over"
6"Richmond Park in November should"
7"She'd jogged here twice with"
8"The standing stones, seven of"
9"She could still see it"
10"The clearing stretched wider than"
11"Wildflowers carpeted the ground in"
12"They swayed in a breeze"
13"The air itself tasted different,"
14"Rory straightened up."
15"She'd been leaning."
16"The silence bothered her most."
17"It lived at the edge"
18"She glanced down."
19"The grass beneath her trainers"
ratio0.717
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences113
matches(empty)
ratio0
56.65% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount7
matches
0"The grass beneath her trainers left impressions, each footprint filling slowly with a faint luminescence that faded after a few seconds."
1"The copper-barked trees grew denser, their canopy weaving overhead into a lattice that filtered light from a source Rory couldn't locate."
2"Not oak trees disguised as pillars, but actual stones, waist-high, carved with script that moved when Rory looked at it directly."
3"Not the ambient tone that permeated the Grove, but a bright, clear note, like someone striking a tuning fork against bone."
4"The Fae blade Isolde had given her through intermediaries, passed hand to hand through a chain of drops until it reached Nyx, who'd left it on her kitchen count…"
5"Grand tables stretching the length of avenues, laden with food, and figures seated at them, eating, their faces blank, their hands moving mechanically from plat…"
6"And along the riverbank, hairline fractures in the air itself, barely visible, like scratches on glass, each one leaking a warm golden light that had no busines…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount0
matches(empty)
91.18% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount3
fancyTags
0"Nyx corrected (correct)"
1"Nyx whispered (whisper)"
2"Isolde confirmed (confirm)"
dialogueSentences51
tagDensity0.059
leniency0.118
rawRatio1
effectiveRatio0.118
86.9527%