Run: 2026-02-24-01KJ8WWNAJ3CH5FZNKZPT9HZGH

Run Details

Duration:
1m 30s
Cost:
$0.102820
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Three deadbolts. Rory had locked all three. She remembered because Ptolemy had watched from the hallway bookshelf with that judgmental amber stare cats reserved for the paranoid, and she'd turned each lock with deliberate, spiteful force, as if the act itself could seal out more than just the November chill. So when the third bolt clicked open from the outside, she grabbed the heaviest thing within reach, a clothbound Oxford etymological dictionary, and positioned herself behind the kitchen doorframe. The door swung inward. A waft of cold air carried the scent of sandalwood and cigarette smoke, a combination so specific it hit her like a hand around the throat. "I know you're behind the wall, Carter. I can hear you breathing." She stepped out. Lucien Moreau stood in the doorway of Eva's flat, his ivory-handled cane hooked over one forearm, a set of lockpicks disappearing into his breast pocket with the casual grace of a man pocketing a business card. His charcoal suit was immaculate. His platinum hair caught the sickly hallway light and turned it into something expensive. Those mismatched eyes, one amber, one black, found hers. "You changed the locks." "Eva changed the locks. Because of people like you." "People like me." A faint smile. He didn't ask to come in. He stepped past her, his cane tapping once on the threshold like a full stop at the end of a sentence, and surveyed the flat with an expression that landed somewhere between amusement and calculated assessment. Eva's place looked the same as always. Books colonised every surface, stacked in defiant towers on the kitchen counter, fanned across the sofa cushions, piled beneath the radiator where condensation had curled their pages into soft waves. Research notes in Eva's frantic handwriting papered the walls above the desk. The curry house below pumped warm, turmeric-heavy air through the floorboards. Ptolemy dropped from the bookshelf and wound between Lucien's ankles. Traitor. "Eva's in Edinburgh until Thursday." "I know." "Then why are you here?" Lucien set his cane against the arm of the sofa and unbuttoned his jacket, one-handed, with the kind of fluid economy that made the gesture look rehearsed. He sat. Ptolemy leapt into his lap. The cat purred like a diesel engine. "You've been avoiding my calls." "Avoiding implies effort. I deleted your number." "And yet you recognised my cologne through a wall." Rory set the dictionary down on the counter harder than necessary. The stack of books beside it shuddered. "Say what you came to say, Lucien." He studied her. That was the thing about his eyes, the way the amber one tracked emotion while the black one simply absorbed. Like being watched by two different people, one who wanted to understand her and one who already did. "You look thin." "That's not what you came to say." "No." He scratched behind Ptolemy's ear. The cat's purring intensified. "Marchetti's people have been asking about you. Three times this week. Different faces each time, same questions." The name landed in her stomach like a swallowed stone. She kept her expression level. "Marchetti doesn't know I exist." "He does now. Someone told him about the Whitechapel job." A pause. "Someone who knew the details." The implication hung in the air between them. Only four people had known the details of the Whitechapel job. Eva. Silas. Rory. And the man currently sitting on Eva's sofa with a cat in his lap. "You think I don't know that?" His voice dropped half a register. "You think that's not why I'm here, picking locks at eleven o'clock at night?" Rory crossed her arms. The crescent-shaped scar on her left wrist caught the lamplight, a pale sliver of old damage. "Last time you showed up unannounced, you told me the situation was handled. That I could stop looking over my shoulder." She leaned against the counter. "That was four months ago." "The situation was handled. This is a new situation." "Funny how they keep finding me." "Funny how you keep refusing my protection." The word crackled between them. Protection. He'd used it before, the night everything fractured. Standing in the rain outside Silas's bar, his jacket draped over her shoulders because she'd been shaking, though not from cold. His hand on her face. The impossible warmth of half-demon skin. And that word, spoken like a promise and a cage in the same breath. *Let me protect you.* She'd run. Of course she'd run. Running was the one skill Evan had taught her, the only useful thing that relationship had produced, an instinct sharpened to a blade edge. The moment someone's care started to feel like a closing fist, her legs made the decision before her brain caught up. Lucien hadn't followed. That was the part she couldn't forgive him for, or herself for wanting him to. "I didn't come to rehash old arguments." He lifted Ptolemy and set the cat gently on the cushion beside him. Rose to his feet. Without the cane, he moved differently, a faint unevenness to his gait that the ivory handle normally disguised. He crossed the small kitchen in three steps and stopped an arm's length from her. Close enough that the sandalwood sharpened into something warmer underneath. Close enough to see the faint silver scarring along his jaw, half-hidden by the collar of his shirt. Marks from his father's world, she'd guessed once. He'd neither confirmed nor denied it. "What did you come for, then?" "To give you this." He reached into his jacket and produced a folded square of paper, edges worn soft from handling. She took it. Their fingers didn't touch, a careful geometry he'd engineered. She unfolded it. A photograph, printed on cheap copier paper. Grainy, taken from across a street. It showed the front of the Golden Empress, the red and gold awning she ducked under six days a week, Yu-Fei's handwritten specials board propped against the doorframe. And there, emerging with a stack of delivery bags, captured mid-stride, Rory. A red circle drawn around her face. "This was pinned to Marchetti's office wall. My source photographed it two days ago." The paper trembled in her hand. She pressed it flat against the counter. "Two days." "I needed to verify, " "Two days, Lucien." "I wasn't going to come to you with speculation." "No, you'd rather come with proof that someone's been watching me for God knows how long." Her voice stayed level. Steady as surgical steel. But her fingers curled against the countertop. He noticed. He always noticed. "There's more." He reached into the other side of his jacket. A second photograph. This one showed the street outside Silas's bar. Her window, second floor, light on behind the curtain. Another red circle, this time around the window itself. "They know where you work. They know where you sleep." "Cheery." "This isn't a joke." "Do I look like I'm laughing?" She didn't. She looked like a woman doing arithmetic behind her eyes, running calculations, mapping exits. He'd seen that look before, the night she'd told him about Evan, her voice flat and clinical, as though she were describing something that had happened to a stranger. "I have a safehouse," he said. "Bermondsey. Clean, unregistered, warded against scrying. You stay there until I sort this." "Until you sort this." "Yes." "And what does that look like? Sorting it?" Something shifted behind his black eye. A flicker, like light bending in deep water. "You don't want that answer." "I stopped wanting easy answers around the time I left Cardiff." He exhaled through his nose. The amber eye held her gaze while the black one did that thing, that absorbing thing, where she felt certain he could see beneath her skin to the clockwork underneath. "Marchetti has a ledger. Names, transactions, leverage. Everyone he controls, everyone who owes him. I destroy the ledger, his network fragments. His interest in you becomes irrelevant." "And destroying the ledger involves..." "Things I'm good at." The space between them thinned. She hadn't moved. Neither had he. But the kitchen felt smaller, the curry-spiced air thicker, the ambient noise of Brick Lane muffled to a murmur. "You could have sent a message. Posted the photos. Hired a courier, you certainly know enough of them." She tilted her chin up. "You didn't need to come." "No." "So why did you?" The question stripped the room of pretence. Ptolemy had gone silent on the sofa. The radiator ticked in the wall. Somewhere below, a chef shouted in Bengali and a pan clattered. Lucien's hand came up. Stopped. He held it between them, palm open, fingers slightly curled, a question asked in flesh rather than language. The same hand that had touched her face in the rain four months ago. The same hand she'd pulled away from. "Because you deleted my number," he said. "And I haven't slept since." Her chest ached. A physical thing, like a bruise pressed. She didn't take his hand. But she didn't step back. "The safehouse. How long?" "A week. Maybe two." "And you'll be where?" "Close." "That's not an answer." "It's the only one I have." She stared at his open palm. The lines there were strange, she remembered. Forked in places human hands didn't fork. A cartography of mixed blood. "If I go with you," she said, "this isn't what it was before. You don't get to make decisions for me. You don't get to disappear for weeks and come back smelling like other people's problems and expect me to just, " "I know." "Let me finish." Her blue eyes held a voltage that made the amber one flinch. "You don't get to protect me like I'm something fragile. I'm not. I've never been. And if you ever use that word like a leash again, I'll disappear so thoroughly even your sources won't find me." He closed his hand. Slowly. The tendons in his wrist flexed. "Understood." "Good." She pushed off the counter. "I need fifteen minutes. And you're feeding Ptolemy before we leave, he bites me every time I try." She walked toward Eva's bedroom. At the doorframe, she paused without turning. "Lucien." "Oui." "I didn't delete your number." She heard the breath he took. A rough, serrated thing. She closed the bedroom door before he could answer, and leaned her forehead against the wood, pressing both palms flat to the grain. Her pulse hammered in her wrists, in her throat, in the crescent scar that tingled as though it remembered being touched. Fifteen minutes. Pack a bag. Think later. She pulled open Eva's wardrobe, grabbed the go-bag her friend kept behind the winter coats, because of course Eva kept a go-bag, and started checking its contents. Torch. Cash. Burner phone. Change of clothes. A small leather journal filled with symbols Rory couldn't read. From the kitchen came the sound of a tin being opened, and Ptolemy's indignant yowl, and Lucien swearing in rapid, breathless French. Then, through the thin wall, three sharp knocks on the front door. Not the rhythm of a neighbour. Not the tentative rap of a delivery. Three knocks, evenly spaced, with the weight of a fist behind them. Lucien went silent. Rory dropped the bag and pressed her ear to the bedroom wall. A voice from the hallway, muffled but audible, thick with an accent she couldn't place. "Mr. Moreau. We know you're in there. Mr. Marchetti sends his regards."
created_at"2026-02-24T22:39:04.54Z" 2/24/2026, 10:39:04 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1566
moderation_latency167
generation_time89462
tokens_prompt4556
tokens_completion3274
native_tokens_prompt4674
native_tokens_completion3178
native_tokens_completion_images(null)
native_tokens_reasoning285
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"
usage0.10282
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"b32f6cbc-6dfd-45d1-957c-bf9969ba521a"
is_byokfalse
latency1475
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771972744-7QHFCyPIlnivqrepvzbV"
upstream_id"b32f6cbc-6dfd-45d1-957c-bf9969ba521a"
total_cost0.10282
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags12
adverbTagCount0
adverbTags(empty)
dialogueSentences72
tagDensity0.167
leniency0.333
rawRatio0
effectiveRatio0
92.09% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1896
totalAiIsmAdverbs3
found
0
adverb"gently"
count1
1
adverb"slightly"
count1
2
adverb"slowly"
count1
highlights
0"gently"
1"slightly"
2"slowly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
73.63% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1896
totalAiIsms10
found
0
word"chill"
count1
1
word"calculated"
count1
2
word"stomach"
count1
3
word"implication"
count1
4
word"fractured"
count1
5
word"warmth"
count1
6
word"trembled"
count1
7
word"flicker"
count1
8
word"pulse"
count1
9
word"weight"
count1
highlights
0"chill"
1"calculated"
2"stomach"
3"implication"
4"fractured"
5"warmth"
6"trembled"
7"flicker"
8"pulse"
9"weight"
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
narrationSentences147
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences147
filterMatches
0"look"
hedgeMatches
0"started to"
1"happened to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences205
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords4
totalWords1898
ratio0.002
matches
0"Let me protect you."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1362
uniqueNames19
maxNameDensity0.59
worstName"Eva"
maxWindowNameDensity1.5
worstWindowName"Ptolemy"
discoveredNames
Ptolemy7
November1
Oxford1
Moreau1
Eva8
Lucien7
Whitechapel1
Rory7
Silas3
Evan2
Rose1
Golden1
Empress1
Yu-Fei1
Steady1
Brick1
Lane1
Bengali1
French1
persons
0"Ptolemy"
1"November"
2"Moreau"
3"Eva"
4"Lucien"
5"Rory"
6"Silas"
7"Evan"
8"Yu-Fei"
places
0"Oxford"
1"Brick"
2"Lane"
3"Bengali"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount1
matches
0"looked like a woman doing arithmetic behi"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.527
wordCount1898
matches
0"neither confirmed nor"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences205
matches
0"seen that look"
1"did that thing"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs108
mean17.57
std16.29
cv0.927
sampleLengths
050
129
230
312
458
59
64
79
848
960
1011
115
122
135
1441
155
167
179
1818
197
2041
213
227
2327
2415
255
2617
2736
2826
2920
3031
319
326
337
3460
354
3651
3718
3857
3942
406
414
4229
4344
4412
457
4614
4713
482
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences147
matches
0"being watched"
1"being opened"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs221
matches
0"were describing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences205
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1373
adjectiveStacks1
stackExamples
0"below pumped warm, turmeric-heavy air"
adverbCount36
adverbRatio0.026219956300072834
lyAdverbCount11
lyAdverbRatio0.008011653313911144
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences205
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences205
mean9.26
std8.25
cv0.891
sampleLengths
02
15
243
329
44
526
612
73
836
95
1014
119
124
139
146
156
1636
177
1830
1912
2011
2110
221
235
242
255
2627
272
285
297
305
317
329
3311
347
357
363
3720
3818
393
407
416
424
4317
4410
455
465
4712
485
498
60.98% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3951219512195122
totalSentences205
uniqueOpeners81
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences126
matches
0"Only four people had known"
1"Of course she'd run."
2"Somewhere below, a chef shouted"
3"Then, through the thin wall,"
ratio0.032
83.49% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences126
matches
0"She remembered because Ptolemy had"
1"She stepped out."
2"His charcoal suit was immaculate."
3"His platinum hair caught the"
4"He didn't ask to come"
5"He stepped past her, his"
6"He studied her."
7"He scratched behind Ptolemy's ear"
8"She kept her expression level."
9"His voice dropped half a"
10"She leaned against the counter"
11"He'd used it before, the"
12"His hand on her face."
13"He lifted Ptolemy and set"
14"He crossed the small kitchen"
15"He'd neither confirmed nor denied"
16"He reached into his jacket"
17"She took it."
18"Their fingers didn't touch, a"
19"She unfolded it."
ratio0.341
67.14% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount99
totalSentences126
matches
0"Rory had locked all three."
1"She remembered because Ptolemy had"
2"The door swung inward."
3"A waft of cold air"
4"She stepped out."
5"Lucien Moreau stood in the"
6"His charcoal suit was immaculate."
7"His platinum hair caught the"
8"Those mismatched eyes, one amber,"
9"A faint smile"
10"He didn't ask to come"
11"He stepped past her, his"
12"Eva's place looked the same"
13"Books colonised every surface, stacked"
14"The curry house below pumped"
15"Ptolemy dropped from the bookshelf"
16"Lucien set his cane against"
17"Ptolemy leapt into his lap."
18"The cat purred like a"
19"Rory set the dictionary down"
ratio0.786
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences126
matches(empty)
ratio0
49.69% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount6
matches
0"She remembered because Ptolemy had watched from the hallway bookshelf with that judgmental amber stare cats reserved for the paranoid, and she'd turned each loc…"
1"He stepped past her, his cane tapping once on the threshold like a full stop at the end of a sentence, and surveyed the flat with an expression that landed some…"
2"Lucien set his cane against the arm of the sofa and unbuttoned his jacket, one-handed, with the kind of fluid economy that made the gesture look rehearsed."
3"She looked like a woman doing arithmetic behind her eyes, running calculations, mapping exits."
4"He'd seen that look before, the night she'd told him about Evan, her voice flat and clinical, as though she were describing something that had happened to a str…"
5"Her pulse hammered in her wrists, in her throat, in the crescent scar that tingled as though it remembered being touched."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount0
fancyTags(empty)
dialogueSentences72
tagDensity0.042
leniency0.083
rawRatio0
effectiveRatio0
90.7006%