Run: 2026-02-24-01KJ8TZQ3D164K2WC3NK9XHEFF

Run Details

Duration:
1m 33s
Cost:
$0.115035
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 Heartstone pendant burned against Rory's collarbone the moment she stepped through. Not the gentle warmth she'd grown accustomed to, the soft pulse that quickened near rift points and thinning spots in the Veil. This was a brand. A searing declaration that she'd crossed something that shouldn't be crossed, and her body, her mortal body with its ordinary bones and unremarkable blood, had no business being on this side of it. She bit down hard enough to taste copper and kept walking. The ground beneath her trainers wasn't soil. It looked like soil, dark and rich and loamy, but it gave under her weight with a fleshy resistance, like stepping on the skin of overripe fruit. Each footfall left a shallow impression that filled with amber liquid, pooling in her wake. "Don't drink it." Nyx materialised beside her, their shadow-form flickering at the edges like a flame caught in a draft. In this place, they looked more solid than Rory had ever seen them. More defined. The violet glow of their eyes had deepened to something closer to bruise-purple. "Wasn't planning on it." "Everyone plans. No one intends." Behind them, Isolde moved without sound, her bare feet somehow failing to indent the ground at all. Her silver hair caught the light of a sky that had no sun, no clouds, no familiar reference point. Just warmth. A vast amber wash overhead, the colour of honey held up to candlelight, stretching from horizon to horizon without source or shadow. It made everything beneath it look gilded. Beautiful. Wrong. "The Seer seems comfortable," Nyx observed. "A bird does not struggle in the wind." Isolde's pale lavender eyes tracked something in the middle distance. "It is the fish that panics in open air." "Cheers for that," Rory muttered. Fish. She was the fish in this metaphor. Noted. They'd emerged on a hillside, and the slope carried them down into a valley that unfolded beneath like someone peeling back the rind of something magnificent and rotten. Vineyards stretched in precise geometric rows, vines thick as Rory's forearm supporting clusters of fruit she couldn't name. Some resembled grapes, if grapes grew the size of plums and pulsed with internal light, deep reds and golds flickering beneath translucent skin. Others looked like nothing she'd seen before, elongated teardrop shapes that wept a sticky resin onto leaves already blackened by the excess. The smell hit next. Rich, cloying sweetness undercut by something savoury and deep, like someone had poured a full English breakfast into a vat of mulled wine and set it to simmer for a century. Rory's stomach clenched, not from revulsion. From hunger. A sudden, clawing hunger that had nothing to do with her last meal and everything to do with the air itself, thick with flavour, thick with want. "Dymas feeds before you eat." Nyx's whisper-voice carried a thread of warning. "The air is appetite. Breathe shallow." Rory adjusted, pulling breaths through her teeth. The hunger dulled from a roar to a murmur. Manageable. They passed between two vine rows and the path widened into a cobbled road, the stones a mottled burgundy like aged meat. Along its edges, low walls of stacked fruit crates bordered orchards so abundant that branches bowed to the ground under the weight of their impossible harvest. She spotted what looked like pomegranates split open on the branch, seeds catching the amber light like rubies. Beside them, something like a pear the colour of midnight, its surface so dark it seemed to swallow photons. A sound drifted up from deeper in the valley. Not music, not speech. A rhythmic clattering, metallic and purposeful, underscored by a low collective hum. "Kitchens," Isolde said. The single word sat flat, unadorned. No riddle this time. As they descended, the orchards gave way to structures. The architecture defied Rory's sense of scale, buildings that seemed to shift depending on the angle, facades of dark polished stone veined with gold that pulsed faintly, like the whole valley had a circulatory system. Arched doorways gaped wide enough to admit three abreast, their lintels carved with figures she didn't want to examine too closely. She caught glimpses. Mouths. Open mouths everywhere in the stonework, frozen mid-bite, mid-scream, mid-laugh. Through one archway, she spotted a courtyard containing a long stone table set for dozens. Crystal decanters caught the amber light and threw fractured rainbows across white linen. Every plate bore food, steam still rising, but no diners sat in the high-backed chairs. Place settings for ghosts. "Helbound souls," Nyx said, reading her gaze. "The contracted. They cook, they serve, they prepare. The feasts are endless. The guests are... selective." "And the cooks?" "They taste nothing." A pause. "That is the arrangement." The clattering grew louder as they rounded a curve in the road. A vast open-air kitchen sprawled before them, all copper and fire and motion. Dozens of figures worked at stations carved from a single slab of obsidian, chopping, stirring, plating with mechanical precision. Their movements held the eerie synchronisation of a murmuration. Starlings made of sinew and regret. Some wore chef's whites stained with colours Rory couldn't reconcile: blues, greens, a vivid purple that seemed to move independently of the fabric. Others worked bare-armed, skin marked with symbols that shifted when she tried to focus on them. None looked up. None acknowledged the three strangers watching from the road's edge. Rory's hand drifted to the Fae blade at her hip. The moonsilver dagger radiated cold through the leather sheath, a steady chill that grounded her against the valley's seductive warmth. Isolde had given it to her three days ago, which might have been three weeks ago, time being the slippery thing it was anywhere the Fae touched. The blade felt like an anchor to something real, something outside this amber-soaked fever dream. "We're looking for a name," she said, keeping her voice low. "Not a tour." "Names have weight in Hel." Nyx's form rippled, shadow-stuff contracting. "Speak one carelessly and it becomes an invitation." "Then how do we find, " she stopped herself. Right. She'd written the name on her forearm in biro before they'd crossed, because Nyx had warned her about exactly this. She pushed up her jacket sleeve and showed them the letters. Nyx's violet eyes tracked the ink. "The south quarter. Past the gardens." They skirted the open-air kitchen and descended further. The road narrowed between buildings that leaned together overhead, their upper storeys nearly touching, and the amber light filtered through the gap in a thin bright seam like a surgical incision. Down here, the cloying sweetness gave way to earthier notes. Fermentation. The heady punch of alcohol so potent it stung her sinuses. Cellars, she guessed, or breweries. The walls sweated condensation that beaded and ran in rivulets the colour of dark ale. Isolde's hand closed on Rory's shoulder. The Seer's grip held surprising strength for someone who looked like she might dissolve in a stiff breeze. "Three steps ahead. Stop." Rory stopped. Looked down. The cobblestones ended. Not gradually, not with a kerb or a ledge. They simply ceased, and beyond them stretched a drop into darkness, a gap in the road like a missing tooth. No bottom visible. No far side. Just a wound in the architecture of Dymas, exhaling cold air that smelled of nothing at all, which in a place saturated with scent felt like deafness, like blindness, like a hole punched through sensation itself. "What is that?" "A debt unpaid." Isolde withdrew her hand. "The realm consumes what it is owed. When a soul breaks contract, Dymas takes its portion. This is where it takes it from." The gap stretched perhaps three metres across. On the far side, the cobbles resumed as though nothing had happened. Warm light, sweating walls, the distant clatter of kitchens. "Can we go around?" Nyx flickered, and for a moment their form stretched thin, a dark thread bridging the gap. They snapped back. "Warded. On both sides. Nothing passes by shadow." "The blade," Isolde said. Not a question. Rory drew the Fae dagger. Its pale luminescence intensified, moonsilver catching light that shouldn't exist in this sunless place. The cold bit into her palm. She extended it over the gap, and the darkness recoiled. Not much. An inch, two inches, the void contracting from the blade's edge like flesh flinching from a hot iron. "It fears the Fae," Nyx said. Something in their whisper-voice sounded close to admiration. "Old treaties. Older grudges." "Will it hold?" "One way forward. One way to learn." Rory set her jaw. She placed a foot on the edge of the last cobblestone, extended the blade, and stepped into the gap. Cold hit her like a wall of water. The nothing-smell became a nothing-everything, a roar of absence that tried to fill itself with her. Her breath, her warmth, the beat of her stubborn mortal heart. The Heartstone pendant screamed against her chest, a white-hot point of defiance, and the Fae blade sang a single clear note that cut through the void like a bell through fog. Two steps. Three. Her foot found stone on the far side. She hauled herself forward and the warmth of Dymas crashed back over her, amber light and fermentation and the distant hum of industry. Behind her, Nyx flowed across the space the blade had carved, and Isolde followed, still leaving no footprints, even on the far side where the cobbles bore a thin film of condensation. Rory realised she was shaking. Not from the cold. From the hunger. The crossing had amplified it tenfold, a hollowness in her gut that felt like it could swallow her from the inside. She breathed through her teeth. Counted to four. The edge softened. "The gardens," Nyx said, and their shadow-hand pointed down the alley where the sweating walls opened onto something green and sprawling. They emerged into a space that stopped Rory's breath for reasons that had nothing to do with hunger or dread. It was massive. An amphitheatre of growing things, terraced gardens climbing up the inner walls of a natural bowl in the valley, each level bursting with plant life so vivid it bordered on violent. Flowers with petals like wet silk. Herbs that released clouds of pollen when the air shifted, each cloud a different colour, gold, vermillion, a blue so deep it looked like a wound in the spectrum. At the centre of the lowest terrace, a figure knelt among rows of something that resembled basil, if basil grew waist-high and hummed. "That's not the name on your arm," Nyx observed. "No." Rory studied the figure. Broad-shouldered, dressed in chef's whites that had seen better decades, hands deep in the singing soil of Dymas. Human, or human-shaped. One of the helbound, contracted from Earth to serve in the kitchens of excess for however long their soul had bartered for. The figure looked up. Eyes the colour of cooked caramel found hers across the garden, and a smile spread across a face that was too young for the weariness it carried. "English?" "Welsh, actually." "Close enough." The figure stood, brushing amber soil from scarred knees. "You're breathing through your teeth. Smart. Most newcomers pass out before they reach the second vineyard." A glance at Nyx, then Isolde. Recognition flickered, then something colder. "You brought a Shade and a half-blood Fae into Belphegor's pantry." "Sounds worse when you say it like that." "It sounds exactly as bad as it is." The figure pulled a sprig from the nearest plant and offered it. "Chew this. Kills the appetite. Tastes like burning tyres but your stomach will forgive you." Rory took it. Bit down. Her eyes watered. Burning tyres was generous. But the hollow hunger in her gut retreated like a tide pulling back from shore. "I need to find someone," she said, once she could speak again. "Everyone here needs to find someone. That's sort of the point." The figure's gaze dropped to her forearm, to the biro letters bleeding slightly in the humidity. The caramel eyes widened. "Oh. Oh, you're looking for her." "You know her?" "She runs the south quarter competition kitchen. Has for thirty years, our time." A pause heavy with implication. "Nobody looks for her. People run from her." Nyx's shadow-form contracted, drawing tight around their humanoid outline, a reflex Rory had learned to read as alert. Isolde tipped her head, silver hair sliding over one shoulder, and smiled the particular smile that meant she'd already seen how this ended. From somewhere deeper in the gardens, a bell rang. Low, resonant, shaking pollen from the flowers in cascading clouds of colour. The figure in chef's whites went pale beneath the amber light. "That's the dinner bell." Their voice dropped. "She knows you're here."
created_at"2026-02-24T22:05:47.511Z" 2/24/2026, 10:05:47 PM
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is_byokfalse
latency2044
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771970747-JSjVU73OxqmIccyKkURS"
upstream_id"6b606ab5-4a98-49bd-9005-cf1af2184003"
total_cost0.115035
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
totalTags20
adverbTagCount0
adverbTags(empty)
dialogueSentences51
tagDensity0.392
leniency0.784
rawRatio0
effectiveRatio0
97.65% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2124
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
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)
27.02% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2124
totalAiIsms31
found
0
word"warmth"
count5
1
word"pulse"
count1
2
word"quickened"
count1
3
word"searing"
count1
4
word"weight"
count3
5
word"footfall"
count1
6
word"familiar"
count1
7
word"comfortable"
count1
8
word"pulsed"
count2
9
word"stomach"
count2
10
word"whisper"
count2
11
word"rhythmic"
count1
12
word"sense of"
count1
13
word"crystal"
count1
14
word"fractured"
count1
15
word"mechanical"
count1
16
word"chill"
count1
17
word"flickered"
count2
18
word"silk"
count1
19
word"implication"
count1
20
word"cascading"
count1
highlights
0"warmth"
1"pulse"
2"quickened"
3"searing"
4"weight"
5"footfall"
6"familiar"
7"comfortable"
8"pulsed"
9"stomach"
10"whisper"
11"rhythmic"
12"sense of"
13"crystal"
14"fractured"
15"mechanical"
16"chill"
17"flickered"
18"silk"
19"implication"
20"cascading"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences164
matches(empty)
90.59% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences164
filterMatches
0"look"
hedgeMatches
0"seemed to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences192
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2125
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions1
matches
0"Cellars, she guessed, or breweries."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions59
wordCount1824
uniqueNames14
maxNameDensity0.99
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Heartstone2
Rory18
Veil1
Isolde10
Fish1
English1
Fae4
Nyx14
Right1
Seer1
Dymas3
Broad-shouldered1
Earth1
Recognition1
persons
0"Rory"
1"Isolde"
2"Nyx"
3"Seer"
4"Dymas"
5"Broad-shouldered"
6"Recognition"
places
0"Veil"
1"Earth"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount10
matches
0"looked like soil, dark and rich and loamy"
1"looked like nothing she'd seen before, el"
2"looked like pomegranates split open on th"
3"something like a pear the colour of midnight"
4"buildings that seemed to shift depending on the angle, facades of dark polished stone veined with gold that pulsed faintly, like the whole valley had a circulatory system"
5"felt like an anchor to something real,"
6"looked like she might dissolve in a stiff"
7"felt like deafness, like blindness, lik"
8"felt like it could swallow her from the"
9"looked like a wound in the spectrum"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2125
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences192
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean30.8
std26.59
cv0.863
sampleLengths
012
159
211
349
43
545
64
75
869
96
1027
1114
1291
1370
1418
1517
1685
1725
1813
1979
2047
2123
223
239
2498
2513
2672
2714
2818
2947
306
3181
3224
334
3478
353
3630
3728
384
3919
408
417
4255
4318
443
457
4623
4766
4866
4944
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences164
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs303
matches
0"was shaking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences192
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1845
adjectiveStacks0
stackExamples(empty)
adverbCount52
adverbRatio0.028184281842818428
lyAdverbCount8
lyAdverbRatio0.004336043360433604
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences192
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences192
mean11.07
std8.51
cv0.769
sampleLengths
012
122
24
333
411
57
627
715
83
917
1013
112
1213
134
145
1517
1619
172
1822
197
201
211
226
2318
249
255
261
277
281
2928
3018
3123
3222
334
3431
356
362
3727
3812
396
407
419
421
4322
4426
4518
4619
479
484
4912
78.99% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.4895833333333333
totalSentences192
uniqueOpeners94
23.81% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences140
matches
0"Just a wound in the"
ratio0.007
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences140
matches
0"She bit down hard enough"
1"It looked like soil, dark"
2"Her silver hair caught the"
3"It made everything beneath it"
4"She was the fish in"
5"They'd emerged on a hillside,"
6"They passed between two vine"
7"She spotted what looked like"
8"She caught glimpses."
9"Their movements held the eerie"
10"she said, keeping her voice"
11"she stopped herself"
12"She'd written the name on"
13"She pushed up her jacket"
14"They skirted the open-air kitchen"
15"They simply ceased, and beyond"
16"They snapped back."
17"Its pale luminescence intensified, moonsilver"
18"She extended it over the"
19"She placed a foot on"
ratio0.207
70.71% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences140
matches
0"The Heartstone pendant burned against"
1"This was a brand."
2"A searing declaration that she'd"
3"She bit down hard enough"
4"The ground beneath her trainers"
5"It looked like soil, dark"
6"Each footfall left a shallow"
7"Nyx materialised beside her, their"
8"The violet glow of their"
9"Her silver hair caught the"
10"A vast amber wash overhead,"
11"It made everything beneath it"
12"Isolde's pale lavender eyes tracked"
13"She was the fish in"
14"They'd emerged on a hillside,"
15"Vineyards stretched in precise geometric"
16"Some resembled grapes, if grapes"
17"Others looked like nothing she'd"
18"The smell hit next."
19"Rich, cloying sweetness undercut by"
ratio0.779
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences140
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount16
matches
0"Not the gentle warmth she'd grown accustomed to, the soft pulse that quickened near rift points and thinning spots in the Veil."
1"A searing declaration that she'd crossed something that shouldn't be crossed, and her body, her mortal body with its ordinary bones and unremarkable blood, had …"
2"Her silver hair caught the light of a sky that had no sun, no clouds, no familiar reference point."
3"They'd emerged on a hillside, and the slope carried them down into a valley that unfolded beneath like someone peeling back the rind of something magnificent an…"
4"A sudden, clawing hunger that had nothing to do with her last meal and everything to do with the air itself, thick with flavour, thick with want."
5"The architecture defied Rory's sense of scale, buildings that seemed to shift depending on the angle, facades of dark polished stone veined with gold that pulse…"
6"Others worked bare-armed, skin marked with symbols that shifted when she tried to focus on them."
7"The moonsilver dagger radiated cold through the leather sheath, a steady chill that grounded her against the valley's seductive warmth."
8"The road narrowed between buildings that leaned together overhead, their upper storeys nearly touching, and the amber light filtered through the gap in a thin b…"
9"Just a wound in the architecture of Dymas, exhaling cold air that smelled of nothing at all, which in a place saturated with scent felt like deafness, like blin…"
10"Its pale luminescence intensified, moonsilver catching light that shouldn't exist in this sunless place."
11"The nothing-smell became a nothing-everything, a roar of absence that tried to fill itself with her."
12"The crossing had amplified it tenfold, a hollowness in her gut that felt like it could swallow her from the inside."
13"At the centre of the lowest terrace, a figure knelt among rows of something that resembled basil, if basil grew waist-high and hummed."
14"Broad-shouldered, dressed in chef's whites that had seen better decades, hands deep in the singing soil of Dymas."
15"Isolde tipped her head, silver hair sliding over one shoulder, and smiled the particular smile that meant she'd already seen how this ended."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount0
matches(empty)
91.18% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"Nyx observed (observe)"
1"Rory muttered (mutter)"
2"Nyx observed (observe)"
dialogueSentences51
tagDensity0.196
leniency0.392
rawRatio0.3
effectiveRatio0.118
82.6652%