Run: 2026-02-24-01KJ8WNGMYDWR00T3DZR46P6KP

Run Details

Model:
Aion 2.0
Duration:
1m 12s
Cost:
$0.007728
Provider:
AionLabs

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <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> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant was a furnace against her ribs. Rory’s fingers closed around it through her jacket, the silver chain biting into the back of her neck. The map she’d found, tucked inside a library book about Welsh folklore, was a crude pencil sketch on yellowing paper. A circle of oaks in Richmond Park, marked with a single rune that matched the one on the back of the Heartstone. It had seemed like a sign. A way to understand the thing that had been left for her, the key to the nightmares that had followed her from Cardiff. Now, standing at the edge of the Fae Grove, it felt like a trap. The air tasted wrong. Not foul, but *different*. Too sweet, like honeysuckle and damp earth left to rot in a sealed jar. The normal sounds of the park at night—the distant hum of the South Circular, the rustle of deer in bracken—had faded ten minutes ago, swallowed by a dense, woolly silence. In their place was a low, almost subliminal hum, the sound of a high-tension wire heard from a great distance. It vibrated in her molars. The standing stones weren't stones at all. They were ancient, gnarled oaks, their trunks fused and twisted into a perfect ring. Their bark was black in the moonlight, slick as wet slate. Between them, the air shimmered, a heat-haze on a cold night. Wildflowers she couldn't name bloomed in riotous colour at their roots, petals glowing with a faint, internal phosphorescence. Year-round blooms, the codex had said. Time moves differently. She checked her phone. No signal. The clock read 11:47 PM. She’d entered the park at 11:15. *An hour inside can be minutes or days outside.* "Brilliant," she muttered, the word flat and dead in the thick air. Her voice didn't echo. It just got eaten. She had to know. That was the problem, had always been the problem. Evan had called it her fatal flaw. *You can't leave a puzzle unsolved, Rory. Even if it's wired to blow.* He’d meant it as a compliment, back when compliments weren't laced with broken glass. Now, standing here, she felt the truth of it like a cold stone in her gut. She stepped between two of the oak-stones. The pressure change was immediate. Her ears popped. The hum intensified, resolving into something that was almost a melody, a discordant, looping tune played on glass and wind. The grove inside the circle was both smaller and larger than it should be. The grass was too green, too uniform. The flower-scents intensified, cloying now, with an undercurrent of something metallic. Blood on the breeze. Her left wrist, the one with the small crescent scar, began to itch. "Hello?" The word was out before she could stop it, a stupid, human impulse to announce herself to the dark. Nothing answered. But the silence *changed*. It became a listening silence. She walked further in, her trainers sinking slightly into the soft turf. The Heartstone's warmth had become a distinct, rhythmic pulse, syncing with her own quickening heartbeat. *When near a Hel portal.* She didn't know what a Hel portal was, but the word ‘Hel’ did nothing for her nerves. A flicker of movement, left. She snapped her head around. Nothing. Just the bizarre, unmoving flowers and the twisted trunks. She kept walking, aiming for the centre of the clearing. Her eyes darted, scanning the deep shadows between the trees. The rules were different here. Physics felt optional. The light seemed to come from everywhere and nowhere, a sourceless, moon-washed gloom that cast no clear shadows. There was a sound. Not the hum. Not the glass-wind melody. This was a soft, wet *crunch*. Like someone stepping on a rotten apple. She froze. The sound had come from behind her, near the ring of stones she’d entered through. Slowly, she turned. The grove was empty. But ten feet away, in the centre of a patch of glowing blue flowers, was a perfect, fresh footprint. It was sunk deep into the soil, and dark moisture seeped up around its edges. It was long, narrow, with toes that seemed too articulated. It hadn't been there thirty seconds ago. Adrenaline, cold and sharp, flooded her system. Her mind, the one that had breezed through tort law essays, began firing options. *Run. Now. Back the way you came.* But the way she came was where the footprint was. And the stones… were they in the same place? The configuration looked subtly wrong. The gap she’d entered through seemed narrower. *Don't run straight. Don't look back. Don't let them herd you.* She changed direction, angling away from the footprint and the nearest section of the stone ring, moving in a wide, cautious arc towards the opposite side of the clearing. The pulse from the pendant was a frantic drum against her sternum. *Crunch.* To her right this time. Closer. She didn't look. She forced her breathing to stay even, her steps measured. *It's testing. Seeing if you'll panic.* She’d seen the tactic before, in a different kind of dark, in a flat in Cardiff with too many locks on the door. Predators liked to see you run. A low whistle sliced through the air. It was a perfect imitation of a song thrush, a melody she’d heard her mother whistle while gardening. But it was off. The notes were a fraction too long, the pauses between them just slightly wrong, as if the thing whistling had learned the tune from a corrupted recording. It came from above. Her gaze shot upwards. The branches of the oaks wove a tangled canopy against a sky that was no longer black, but a deep, bruised purple. No stars. Nothing moved. The whistling stopped. Then, from directly behind her, close enough that she felt the displacement of air, a voice spoke. It was a dry, papery rustle, like leaves skittering on concrete. It mimicked her own. "Hello?" Rory’s blood turned to ice. Every muscle locked. She could smell it now, cutting through the floral perfume—a scent of dry rot, of old mushrooms and cold clay. She didn't turn. She knew, with a certainty that hollowed her out, that turning would be the end. Seeing it would be the end. Some ancient, lizard part of her brain screamed that if she didn't acknowledge it, it wasn't fully here. It was a child's logic, but it was all she had. The thing behind her breathed in, a long, scraping inhalation. "You are… in the wrong place." The voice was learning, adapting. The rustle smoothed into a horrid parody of her Cardiff accent. Her hand was clenched so tightly around the Heartstone that the gem’s edges dug into her palm. The warmth was searing now, almost painful. A beacon. She was a beacon in this wrong, silent place. *Think. Out of the box. Now.* The map. The rune. The stones were a boundary. The pendant reacted to portals. She wasn't just in a weird copse of trees; she was in a *between* place. A threshold. Thresholds have rules. She forced her voice to work, aiming for a tone she didn't feel—cool, analytical, the one she used to de-escalate drunken fights in Silas’s bar. "Is this your grove?" A pause. The presence behind her shifted. She felt a cold draft on the back of her neck. "It is… a place that is. You are a thing that passes through." "Did you bring me here?" Another wet *crunch*, a step to the side. It was circling her. She kept her eyes fixed straight ahead, on a particularly knotted oak that seemed to have a face in its bark. "You rang the bell," the voice whispered, now from her left. "Little bell of blood and stone. We answer." The Heartstone. It had called them. Or called to this place. "You have a question," the voice said. It was directly beside her ear now. She could feel the cold radiating from it. "All who come bear a question. Ask." This was the trap. The reason for the map, the lure. Ask a question in a place where time and truth were currency. She thought of the stories her father’s mother had told, warnings disguised as tales. *Never give the Fair Folk your name. Never eat their food. Never, ever thank them.* And never, *ever* ask a direct question without knowing the price. But she had one. Burning in her since the pendant arrived in a plain box with no postmark. *Who gave this to me?* She opened her mouth. The words trembled on her tongue. And she stopped. Evan’s face flashed in her mind, not angry, but smiling his charming, manipulative smile. *Ask me, Rory. Just ask. I'll tell you the truth.* The truth had always cost her more than she had. This thing’s price would be worse. She changed the question at the last second, shaping it not as a plea, but as a statement of observation. A lawyer’s trick. "The one who left the bell for me… they wanted me to find this place." A hiss, like steam escaping. Annoyance? Interest? "The paths are many. The walker chooses." "Did they walk here too?" Silence. Then, a sound that might have been a laugh, a brittle, clicking cascade. "Some stones remember footsteps. Old footsteps. Heavy with grief." Grief. The word hung in the air, tangible as the scent of rot. *Crunch. Crunch. Crunch.* It was moving away, back towards the centre of the grove. The pressure at her side lessened. She dared a glance from the corner of her eye. She saw only a suggestion—a tall, wilting shape, like a sapling stripped of its bark, moving with a broken, jerky grace. It seemed to bleed into the shadows between the trees, becoming one with the pattern of trunk and branch. It was leaving. The interrogation was over. She should go. Now. While it was distracted. She took a step backward, toward where she thought the entrance was. The oak-stones seemed to have shifted again, their openings now mere slits. The whistling started once more. The thrush song. But this time, it was joined by another. And another. A chorus of perfect, soulless imitations, coming from all around the circle of trees. They weren't alone. They had never been alone. The thing in the centre spoke again, its voice now a chorus of rustles and clicks. "The bell may ring again, passer-through. Next time… you will ask. And we will answer." The temperature plummeted. The glowing flowers winked out, one by one, as if snuffed by an unseen hand. Darkness rushed in, total and absolute, a physical weight. Rory spun, disoriented, the pulse of the Heartstone her only compass. She ran, not straight, but in a stumbling zigzag towards the darkest patch between two stones, hoping it was an exit and not a solid wall of ancient wood. The whistling rose to a deafening, gleeful shriek. She hit the gap shoulder-first. There was a sound of tearing silk, a sudden, violent suction, and the world snapped back into focus with a nauseating lurch. She stumbled onto normal grass, under a normal sky peppered with stars. The distant rumble of traffic was the sweetest sound she’d ever heard. She was back in Richmond Park, on the familiar footpath. Her phone buzzed in her pocket. She fumbled it out. The screen blazed to life. 11:19 PM. Four minutes. She’d been gone four minutes. She looked back. The stand of oaks was there, but it was just trees now. No ring, no glowing flowers, no shimmer in the air. Just a dark patch in the park. The Heartstone had gone cold against her skin. She started walking, then jogging, then running flat out towards the park gate, the taste of honeysuckle and rot still coating her tongue. The thing’s final words echoed in the rhythm of her pounding feet. *Next time… you will ask.* And she knew, with a dread that had already taken root deep inside her, that it was right. She would have to go back. The puzzle was still there, wired to blow. And now she knew where the detonator was.
created_at"2026-02-24T22:35:10.378Z" 2/24/2026, 10:35:10 PM
model"aion-labs/aion-2.0-20260223"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2211
moderation_latency(null)
generation_time71653
tokens_prompt4560
tokens_completion3029
native_tokens_prompt4248
native_tokens_completion2706
native_tokens_completion_images(null)
native_tokens_reasoning3
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"
usage0.007728
router(null)
provider_responses
0
endpoint_id"1e93b0bb-eb0f-49bc-8fda-947105413b86"
id"1d13f9b1-966b-41be-affd-b052312bb109"
is_byokfalse
latency143
model_permaslug"aion-labs/aion-2.0-20260223"
provider_name"AionLabs"
status200
api_type"completions"
id"gen-1771972510-z5sqU3KLii6BD9KqdwOH"
upstream_id"1d13f9b1-966b-41be-affd-b052312bb109"
total_cost0.007728
cache_discount(null)
upstream_inference_cost0
provider_name"AionLabs"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences16
tagDensity0.313
leniency0.625
rawRatio0
effectiveRatio0
90.15% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2030
totalAiIsmAdverbs4
found
0
adverb"slightly"
count2
1
adverb"slowly"
count1
2
adverb"tightly"
count1
highlights
0"slightly"
1"slowly"
2"tightly"
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)
8.87% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2030
totalAiIsms37
found
0
word"silence"
count4
1
word"tension"
count1
2
word"vibrated"
count1
3
word"perfect"
count4
4
word"shimmered"
count1
5
word"echo"
count1
6
word"resolving"
count1
7
word"warmth"
count2
8
word"rhythmic"
count1
9
word"pulse"
count3
10
word"flicker"
count1
11
word"scanning"
count1
12
word"gloom"
count1
13
word"measured"
count1
14
word"searing"
count1
15
word"beacon"
count2
16
word"could feel"
count1
17
word"trembled"
count1
18
word"footsteps"
count2
19
word"tangible"
count1
20
word"weight"
count1
21
word"silk"
count1
22
word"lurch"
count1
23
word"familiar"
count1
24
word"echoed"
count1
25
word"pounding"
count1
highlights
0"silence"
1"tension"
2"vibrated"
3"perfect"
4"shimmered"
5"echo"
6"resolving"
7"warmth"
8"rhythmic"
9"pulse"
10"flicker"
11"scanning"
12"gloom"
13"measured"
14"searing"
15"beacon"
16"could feel"
17"trembled"
18"footsteps"
19"tangible"
20"weight"
21"silk"
22"lurch"
23"familiar"
24"echoed"
25"pounding"
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
narrationSentences226
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount6
narrationSentences226
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences237
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen32
ratio0
matches(empty)
99.26% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans19
markdownWords102
totalWords2025
ratio0.05
matches
0"different"
1"An hour inside can be minutes or days outside."
2"You can't leave a puzzle unsolved, Rory. Even if it's wired to blow."
3"changed"
4"When near a Hel portal."
5"crunch"
6"Run. Now. Back the way you came."
7"Don't run straight. Don't look back. Don't let them herd you."
8"Crunch."
9"It's testing. Seeing if you'll panic."
10"Think. Out of the box. Now."
11"between"
12"crunch"
13"Never give the Fair Folk your name. Never eat their food. Never, ever thank them."
14"ever"
15"Who gave this to me?"
16"Ask me, Rory. Just ask. I'll tell you the truth."
17"Crunch. Crunch. Crunch."
18"Next time… you will ask."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1914
uniqueNames14
maxNameDensity0.31
worstName"Heartstone"
maxWindowNameDensity1
worstWindowName"Heartstone"
discoveredNames
Welsh1
Richmond2
Park2
Heartstone6
Cardiff3
Fae1
Grove1
South1
Circular1
Rory5
Hel2
Silas1
Fair1
Folk1
persons
0"Heartstone"
1"Rory"
2"Silas"
places
0"Richmond"
1"Park"
2"Cardiff"
3"Fae"
4"Grove"
5"Hel"
globalScore1
windowScore1
88.52% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences122
glossingSentenceCount3
matches
0"felt like a trap"
1"seemed narrower"
2"oak that seemed to have a face in its bark"
2.47% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.975
wordCount2025
matches
0"Not foul, but *different*"
1"not angry, but smiling his charming, manipulative smile"
2"not as a plea, but as a statement of observation"
3"not straight, but in a stumbling zigzag towards the darkest patch between two"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences237
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs83
mean24.4
std20.12
cv0.825
sampleLengths
08
189
214
377
470
517
69
720
863
97
1064
1113
1220
1311
1449
1510
1610
1746
184
1920
2017
213
2248
237
2459
2511
2641
271
286
2948
3056
314
3230
333
3432
351
3628
3753
3810
3922
4035
416
4231
433
4429
4518
4613
475
4852
4911
94.40% Passive voice overuse
Target: ≤2% passive sentences
passiveCount7
totalSentences226
matches
0"been left"
1"got eaten"
2"was sunk"
3"was clenched"
4"was distracted"
5"was joined"
6"been gone"
96.80% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs323
matches
0"was learning"
1"was searing"
2"was circling"
3"was moving"
4"was leaving"
82.58% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount1
flaggedSentences5
totalSentences237
ratio0.021
matches
0"The normal sounds of the park at night—the distant hum of the South Circular, the rustle of deer in bracken—had faded ten minutes ago, swallowed by a dense, woolly silence."
1"She could smell it now, cutting through the floral perfume—a scent of dry rot, of old mushrooms and cold clay."
2"She wasn't just in a weird copse of trees; she was in a *between* place."
3"She forced her voice to work, aiming for a tone she didn't feel—cool, analytical, the one she used to de-escalate drunken fights in Silas’s bar."
4"She saw only a suggestion—a tall, wilting shape, like a sapling stripped of its bark, moving with a broken, jerky grace."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount607
adjectiveStacks0
stackExamples(empty)
adverbCount15
adverbRatio0.02471169686985173
lyAdverbCount3
lyAdverbRatio0.004942339373970346
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences237
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences237
mean8.54
std6.48
cv0.758
sampleLengths
08
118
220
322
46
523
614
74
84
914
1030
1120
125
137
1414
1511
1611
1718
186
193
204
212
225
236
249
2512
264
274
284
299
307
317
3220
3316
347
355
363
3720
3814
397
4011
414
4213
4320
442
454
465
4712
4815
4922
37.76% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats29
diversityRatio0.29957805907172996
totalSentences237
uniqueOpeners71
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences194
matches
0"Too sweet, like honeysuckle and"
1"Just the bizarre, unmoving flowers"
2"Slowly, she turned."
3"Then, from directly behind her,"
4"Then, a sound that might"
5"Just a dark patch in"
ratio0.031
77.73% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount69
totalSentences194
matches
0"It had seemed like a"
1"It vibrated in her molars."
2"They were ancient, gnarled oaks,"
3"Their bark was black in"
4"She checked her phone."
5"She’d entered the park at"
6"she muttered, the word flat"
7"Her voice didn't echo."
8"It just got eaten."
9"She had to know."
10"*You can't leave a puzzle"
11"She stepped between two of"
12"Her ears popped."
13"Her left wrist, the one"
14"It became a listening silence."
15"She walked further in, her"
16"She snapped her head around."
17"She kept walking, aiming for"
18"Her eyes darted, scanning the"
19"It was sunk deep into"
ratio0.356
81.13% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount147
totalSentences194
matches
0"The pendant was a furnace"
1"Rory’s fingers closed around it"
2"The map she’d found, tucked"
3"A circle of oaks in"
4"It had seemed like a"
5"A way to understand the"
6"The air tasted wrong."
7"The normal sounds of the"
8"It vibrated in her molars."
9"The standing stones weren't stones"
10"They were ancient, gnarled oaks,"
11"Their bark was black in"
12"Wildflowers she couldn't name bloomed"
13"Year-round blooms, the codex had"
14"She checked her phone."
15"The clock read 11:47 PM."
16"She’d entered the park at"
17"*An hour inside can be"
18"she muttered, the word flat"
19"Her voice didn't echo."
ratio0.758
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount5
totalSentences194
matches
0"Now, standing at the edge"
1"Even if it's wired to"
2"Now, standing here, she felt"
3"To her right this time."
4"While it was distracted."
ratio0.026
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences78
technicalSentenceCount4
matches
0"The hum intensified, resolving into something that was almost a melody, a discordant, looping tune played on glass and wind."
1"The notes were a fraction too long, the pauses between them just slightly wrong, as if the thing whistling had learned the tune from a corrupted recording."
2"The branches of the oaks wove a tangled canopy against a sky that was no longer black, but a deep, bruised purple."
3"She saw only a suggestion—a tall, wilting shape, like a sapling stripped of its bark, moving with a broken, jerky grace."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
25.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount2
fancyTags
0"she muttered (mutter)"
1"the voice whispered (whisper)"
dialogueSentences16
tagDensity0.188
leniency0.375
rawRatio0.667
effectiveRatio0.25
86.1558%