Run: 2026-02-24-01KJ8WFQVQFQQNPVMM17PPXJFN

Run Details

Duration:
1m 18s
Cost:
$0.100485
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 gentle warmth she'd grown accustomed to, that faint pulse like a second heartbeat whenever she passed too close to the wrong alley or the wrong door. This was different. The crimson stone flared hot enough to brand, then cooled so fast her teeth ached. "You felt that," Nyx said. Not a question. Their voice slithered from everywhere and nowhere, a whisper dragged across glass. "Hard to miss." The standing stones rose on either side of a gap she could have sworn hadn't existed thirty seconds ago. Ancient oaks, but wrong. Their bark bore the texture of petrified wood, grey-white and smooth as bone, and they curved inward at the top like ribs. She counted seven. No, eight. The number kept slipping. "Once you cross, the park won't remember you left." Nyx pooled at the base of the nearest stone, their shadow-form bleeding into the roots. Violet pinpricks of light studied her from the dark. "Time bends here. An hour, a minute, a week. No guarantees." "Brilliant. Just what my delivery schedule needed." She touched the Heartstone through her jacket. The silver chain had gone cold. Whatever had triggered the flare, it had passed, or it waited ahead. She adjusted the Fae blade at her hip, the moonsilver dagger Isolde had sent through channels Rory still didn't understand. A gift from a woman she'd never met, forged in courts she couldn't name. The blade's chill leaked through its leather sheath and numbed her thigh. She stepped through. Sound died first. The distant hum of the A307, the rustle of Richmond's ancient deer herds, a jogger's playlist bleeding from cheap earbuds, all of it collapsed into a silence so total her own breathing sounded obscene. Then the silence filled. Not with noise but with presence, the way a room feels different when someone stands behind you in the dark. The grove opened ahead like a wound in the world. Wildflowers carpeted the ground in impossible density, bluebells tangled with foxglove tangled with something she had no name for, something with petals the colour of a bruise that opened and closed in slow rhythm like sleeping mouths. The air tasted of honey and copper, sweet at first, then metallic at the back of her throat. Above, the canopy knitted so tight that no sky showed through, yet light poured down anyway, sourceless and golden-green, the light of a stained-glass window in a church that worshipped something older than God. Nyx materialised beside her, their silhouette sharper here, more defined. The shadows that composed their form moved with a strange fluidity, as though the grove's odd light gave them better substance. "You look more solid." "I feel more solid." They flexed a hand, and Rory caught the suggestion of individual fingers for the first time, long and elegant, the hands of the sorcerer they'd once been. "This place sits between. Closer to the spaces I inhabit." "Closer to the place that trapped you, you mean." The violet lights flickered. "Proximity to a cage doesn't make one caged." She let it go. Nyx's history was their own, and she'd learned fast that pressing a being of living shadow for emotional honesty yielded nothing but cold shoulders, literally. They moved deeper. The flowers shifted colour as she passed, not dramatically, not the way things changed in films, but subtly, the way a mood changes in a room when one person stops smiling. Blues bled toward violet. Whites took on the faintest green. And the bruise-coloured ones, those nameless breathing blossoms, they turned to follow her. "Don't touch those," Nyx said. "Wasn't planning on it." "Good. They digest." The path, if she could call it that, wound between trees that grew at angles no earthly oak would tolerate. One trunk spiralled like a corkscrew, its bark riddled with knotholes that leaked something luminous and viscous. Another had split down the centre and grown around a stone the size of a coffin, swallowing it half into heartwood. Moss covered everything in thick green pelts, and beneath the moss, when her boot scuffed it aside by accident, she saw carvings. Spirals. Concentric circles. Symbols that tugged at something behind her eyes, not pain but recognition, the sense that she'd seen this alphabet before in a dream she couldn't retrieve. "Nyx." "I see them." "What language is that?" "Older than language. The Fae didn't write words. They wrote intentions." The shadow knelt, or approximated kneeling, their form pooling lower. "This one means boundary. And this," a dark finger traced a spiral that turned inward like a drain, "means consumption." "That's comforting." "It isn't meant to be." Something moved in the canopy. Rory's hand found the Fae blade's hilt, and the cold bit into her palm. She tracked the motion, a ripple in the leaves, too large for a bird, too fluid for a squirrel. It circled overhead, then stopped directly above them. Silence. A flower fell from the canopy. One of the bruise-coloured ones. It drifted down with the lazy certainty of a thing that knew exactly where it wanted to land and settled on the moss two feet from Rory's boot. Its petals opened. Inside, where a stamen should have been, sat an eye. Pale lavender. It blinked. "She knows we're here," Nyx said. "I gathered." Rory crouched, studying the eye-flower. The iris contracted as she leaned closer. Intelligent. Amused, even. "Isolde, I presume?" The eye closed. The petals folded shut. And along the path ahead, a chain of identical flowers bloomed in sequence, one after another, a trail of bruised lanterns leading deeper into the grove. Each one opened as the last one closed, a breadcrumb trail made of living tissue and someone else's sight. "She wants us to follow." "Observation of the century, Nightwhisper." "Don't call me that." They followed the flowers. The grove grew denser, the air thicker, and the light shifted from golden-green to something closer to amber, the colour of the Dymasian sky she'd seen in dreams she was no longer sure were dreams. The Heartstone pulsed once, faintly, and she pressed her palm against it. Warm. Not hot. A greeting, not a warning. The trees opened without warning into a clearing. A perfect circle, as though someone had pressed a vast glass into the forest and lifted it clean. Wildflowers ringed the perimeter in rings of descending colour, red to orange to gold to white, and at the centre stood a table carved from a single stump, wide as a dining table and polished to a dark mirror sheen. Objects cluttered its surface: clay bowls, dried herbs, a cracked hourglass, a bird skull with gilded teeth, and a hand-drawn map pinned beneath a stone that glowed with its own faint inner light. And behind the table, cross-legged on the moss, sat a woman who left no mark upon the ground where she rested. Silver hair pooled around her like spilled mercury. She wore a dress of something that might have been silk but moved like water, grey and shifting. Her skin held no lines, no blemishes, nothing to anchor her face to any particular decade or century, and her eyes, when she raised them, matched the ones in the flowers. Pale lavender, ancient, and lit with the amused patience of someone who'd been waiting three hundred years and found the delay mildly entertaining. "The pendant brought you," she said. Her voice carried the cadence of a nursery rhyme, singsong and deliberate. "Or you brought the pendant. The distinction matters less than you think and more than you'd like." "Isolde Varga?" "A name I've worn. Sit." Rory didn't sit. "You sent me a blade." "I sent a blade to the place it needed to be. You happened to be standing there." Isolde's gaze drifted to Nyx. Something in her expression shifted, recognition sliding beneath her ageless composure like a fish beneath ice. "Aldric." The temperature plummeted. Nyx's form went rigid, edges hardening to obsidian. "That name died in 1643." "Names don't die. They hibernate." Isolde rose in a single motion, no hands, no leverage, simply upright where she had been seated. Her bare feet pressed the moss, and the moss bore no impression. "You've come because the Veil thins. Because the pendant burns. Because something stirs in Dymas that shouldn't stir, and you, girl from Cardiff with law books and bruises, you feel it in the crescent on your wrist." Rory's left hand closed on instinct, hiding the small scar. "How do you know about that?" "I see what the world intends to hide. It is the reason my kin cast me out and the reason you stand in my grove." Isolde circled the stump-table and picked up the glowing stone, lifting it to the light like a jeweller inspecting a gem. "Your pendant came from Dymas. Belphegor's domain. Feasts and excess and hunger that never ends. Someone wanted you to carry a piece of Hel against your heart." "Who?" "The wrong question." Isolde set the stone down and fixed Rory with those ancient lavender eyes. "Ask instead: what hatches when a Heartstone warms?" A sound split the grove. Not a crack or a rumble but a vibration that bypassed the ears entirely and struck the bones, the ribs, the marrow. Rory's pendant blazed white-hot and she ripped it from beneath her shirt on instinct, holding it at arm's length. The crimson gem had changed. A fracture ran through its centre, hairline thin, and from the fracture bled light the colour of amber. The colour of a Dymasian sky. Isolde's composure broke for the first time. Her lips parted. Her hands, steady for three centuries, trembled. "It's already begun." The ground beneath the clearing shuddered, and every flower in the grove closed at once.
created_at"2026-02-24T22:32:01.153Z" 2/24/2026, 10:32:01 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2129
moderation_latency471
generation_time77644
tokens_prompt5338
tokens_completion2873
native_tokens_prompt5577
native_tokens_completion2904
native_tokens_completion_images(null)
native_tokens_reasoning356
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"
usage0.100485
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"210f0802-b79a-4232-ba11-996b9b11851c"
is_byokfalse
latency2041
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771972321-mxiRLodX1xuHdqk5ZvVy"
upstream_id"210f0802-b79a-4232-ba11-996b9b11851c"
total_cost0.100485
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
totalTags13
adverbTagCount0
adverbTags(empty)
dialogueSentences43
tagDensity0.302
leniency0.605
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1635
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
57.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1635
totalAiIsms14
found
0
word"warmth"
count1
1
word"pulse"
count1
2
word"whisper"
count1
3
word"chill"
count1
4
word"silence"
count3
5
word"flickered"
count1
6
word"traced"
count1
7
word"comforting"
count1
8
word"pulsed"
count1
9
word"perfect"
count1
10
word"silk"
count1
11
word"trembled"
count1
highlights
0"warmth"
1"pulse"
2"whisper"
3"chill"
4"silence"
5"flickered"
6"traced"
7"comforting"
8"pulsed"
9"perfect"
10"silk"
11"trembled"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences109
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences109
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences139
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1635
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1329
uniqueNames9
maxNameDensity0.75
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Isolde"
discoveredNames
Rory10
Violet1
Heartstone2
Fae2
Isolde6
Richmond1
God1
Dymasian2
Nyx8
persons
0"Rory"
1"Isolde"
2"Nyx"
places
0"Richmond"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount0
matches(empty)
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords3.058
wordCount1635
matches
0"Not with noise but with presence, the way a room feels different"
1"not dramatically, not the way things changed in films, but subtly, the way a mood changes in a room"
2"not the way things changed in films, but subtly, the way a mood changes in a room"
3"not pain but recognition, the sense"
4"Not a crack or a rumble but a vibration"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences139
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs62
mean26.37
std28.01
cv1.062
sampleLengths
013
146
220
33
454
544
67
771
83
961
1010
1189
1231
134
1441
159
1612
1729
1857
195
204
213
22109
231
243
254
2641
272
285
2946
301
3142
3212
332
346
3520
3652
375
385
394
4059
4199
4221
4380
4435
452
465
478
4839
4911
98.83% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences109
matches
0"been, sat"
1"been seated"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs208
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences139
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1341
adjectiveStacks1
stackExamples
0"own faint inner light."
adverbCount34
adverbRatio0.02535421327367636
lyAdverbCount10
lyAdverbRatio0.007457121551081283
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences139
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences139
mean11.76
std10.1
cv0.859
sampleLengths
013
128
23
315
45
53
612
73
819
94
1022
113
122
134
1424
159
1611
177
187
196
2012
2120
2214
2312
243
253
2634
274
2820
2910
3037
3118
3234
3310
3421
354
3631
3710
389
394
408
414
4225
433
4431
454
466
4713
485
494
72.18% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.4460431654676259
totalSentences139
uniqueOpeners62
35.09% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences95
matches
0"Then the silence filled."
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount20
totalSentences95
matches
0"Their voice slithered from everywhere"
1"Their bark bore the texture"
2"She counted seven."
3"She touched the Heartstone through"
4"She adjusted the Fae blade"
5"She stepped through."
6"They flexed a hand, and"
7"She let it go."
8"They moved deeper."
9"She tracked the motion, a"
10"It circled overhead, then stopped"
11"It drifted down with the"
12"Its petals opened."
13"They followed the flowers."
14"She wore a dress of"
15"Her skin held no lines,"
16"Her voice carried the cadence"
17"Her bare feet pressed the"
18"Her lips parted."
19"Her hands, steady for three"
ratio0.211
38.95% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences95
matches
0"The pendant burned against Rory's"
1"This was different."
2"The crimson stone flared hot"
3"Their voice slithered from everywhere"
4"The standing stones rose on"
5"Their bark bore the texture"
6"She counted seven."
7"The number kept slipping."
8"Nyx pooled at the base"
9"Violet pinpricks of light studied"
10"She touched the Heartstone through"
11"The silver chain had gone"
12"Whatever had triggered the flare,"
13"She adjusted the Fae blade"
14"A gift from a woman"
15"The blade's chill leaked through"
16"She stepped through."
17"Sound died first."
18"The distant hum of the"
19"The grove opened ahead like"
ratio0.842
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences95
matches(empty)
ratio0
55.39% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount6
matches
0"Wildflowers carpeted the ground in impossible density, bluebells tangled with foxglove tangled with something she had no name for, something with petals the col…"
1"Above, the canopy knitted so tight that no sky showed through, yet light poured down anyway, sourceless and golden-green, the light of a stained-glass window in…"
2"The shadows that composed their form moved with a strange fluidity, as though the grove's odd light gave them better substance."
3"One trunk spiralled like a corkscrew, its bark riddled with knotholes that leaked something luminous and viscous."
4"Objects cluttered its surface: clay bowls, dried herbs, a cracked hourglass, a bird skull with gilded teeth, and a hand-drawn map pinned beneath a stone that gl…"
5"Pale lavender, ancient, and lit with the amused patience of someone who'd been waiting three hundred years and found the delay mildly entertaining."
86.54% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount1
matches
0"Nyx pooled, their shadow-form bleeding into the roots"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences43
tagDensity0.093
leniency0.186
rawRatio0
effectiveRatio0
84.0498%