Run: 2026-02-24-01KJ8X2SQYM1HSGKSZE1048YCN

Run Details

Duration:
1m 33s
Cost:
$0.106150
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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
The glass slipped from Rory's fingers and hit the bar top with a crack that silenced the nearest table. "Leave it." Silas reached across with a towel before she could move. "Third one this week." "Dock my rent." "I dock your rent every time you break something, there won't be a rent left." He swept the shards into a neat pile, his silver signet ring catching the low light. "Sit down. You're off the clock." She hadn't been on the clock. She'd been restocking the bourbon shelf because the new girl, Priya, had organised the bottles alphabetically instead of by region, and because keeping her hands busy kept her head quiet. The Raven's Nest hummed with its usual Thursday crowd, a mix of media types from Wardour Street and the odd lost tourist who'd wandered past the green neon sign expecting craft cocktails and exposed brick. They got old maps on dark walls, black-and-white photographs of places nobody recognised, and Silas, who poured generous measures and remembered your name after one visit. Rory settled onto a stool at the far end of the bar. Silas slid her a whiskey without asking, the good stuff he kept below the counter. "Brendan called again," he said. "And you answered again." "The man's persistent. Runs in the family." "The man's a barrister. Persistence is billable." She took a sip and let the burn settle. Her father's calls had increased since September. Three a week now, always to Silas, never to her mobile. Brendan Carter understood angles. He knew she wouldn't hang up on someone else's phone. The door swung open. Cold air knifed through the room, sharpening the smell of spilt ale and wood polish. A woman stepped in, tall, wrapped in a charcoal wool coat that cost more than Rory's monthly take from Golden Empress. Dark auburn hair pulled into something architectural. Heels that clicked against the sticky floor with a confidence that bordered on defiance. Rory's whiskey stopped halfway to her mouth. The woman scanned the room the way people do when they're meeting someone, chin up, eyes moving left to right in quick dismissive sweeps. Her gaze passed over Rory, continued to the far wall, then snapped back like a rubber band. Neither of them moved for three full seconds. "Rory?" That voice. Softer than she remembered, stripped of the Cardiff lilt it used to wear like a badge. Rory set her glass down. "Meg." Megan Howell crossed the room in four strides. Up close, the changes multiplied. Sharper cheekbones. A thin gold chain at her throat with a pendant Rory didn't recognise, something that looked like a firm logo. Subtle work around the eyes, the kind that costs enough to look like nothing at all. But the freckles were still there, scattered across the bridge of her nose, impossible to buy or remove. "My God." Meg gripped her shoulders, pulled back, studied her. "Four years?" "Five in March." "Five." Meg exhaled the word like smoke. She slid onto the adjacent stool without being invited, shed her coat to reveal a slate-grey blouse with buttons that caught the dim light. "You look..." "Employed?" "I was going to say different." "Same thing." Silas appeared with surgical timing. Meg ordered a gin and tonic without looking at him, her eyes still fixed on Rory with that particular intensity she used to bring to mock trials. Silas poured the drink, set it down, and retreated to the other end of the bar, where he busied himself with glasses that didn't need polishing. "I didn't know you were in London," Meg said. "Couple of years now." "Doing what?" "Bit of everything." Rory traced the crescent scar on her left wrist with her thumb. An old habit. "You?" "Wexler Graves. Corporate division." Meg said it the way people say things they've rehearsed in mirrors, casual enough to seem unrehearsed. "Junior partner as of last month." "Junior partner at thirty." "Twenty-nine. Birthday's not till April." "Right." Silence pooled between them. The jukebox in the corner switched tracks, something slow and brassy that filled the gap without fixing it. Meg turned her gin glass a quarter rotation. "I looked for you, after you left Cardiff. Rang your mum. She said you needed space." "Mum's diplomatic that way." "Eva wouldn't tell me anything either. Kept saying you were sorting things out." Meg's fingers tightened around her glass. "I heard about Evan, eventually. Through Louise. She ran into his sister at some wedding in Swansea." The name landed in Rory's chest like a stone dropped into still water. She watched the ripples spread. Took a drink. "Old news." "Is it?" "What's that supposed to mean?" "It means you vanished, Rory. Middle of second year, top of the cohort, Professor Hadley already talking about pupillage, and you just, what, evaporated? No goodbye. No forwarding address. Nothing." "I sent you a text." "'Going away for a bit. Don't worry.' That's not a goodbye, that's a weather report." Rory let the accusation sit. Meg had earned it. They'd shared a flat in Cathays for eighteen months, survived Tort Law and Meg's cooking and that horrific night they'd tried to wallpaper the bathroom at two in the morning after splitting a bottle of Prosecco. Meg had held her hair back when she was sick. Rory had proofread every one of Meg's essays, even the ones about maritime disputes that read like instruction manuals. "I wasn't in a position to explain." "You were in a position to leave." "Those were the same position." Meg's jaw tightened. She flagged Silas for another gin. He brought the bottle. "Help yourselves," he said, and the slight limp in his left leg punctuated his retreat. Meg poured her own drink, a generous measure that contradicted the polished exterior. She drank half of it before speaking again, and when she did, the corporate sheen had thinned. "Louise told me about the hospital visit. The one after the party at Marcus's flat." "Louise talks too much." "Louise cried when she told me. Proper cried. In a Pret A Manger at half eleven on a Tuesday." Meg's voice had dropped. "We sat across from each other and she told me about the bruises and I kept thinking, why didn't I see it? I was in the next room, Rory. Literally the next room." "He was careful." "I should have been more careful." "That's not how it works." "Don't tell me how it works. I had three cases last quarter, domestic violence crossovers into corporate fraud. Hiding assets, shell companies, the whole architecture of control. I know exactly how it works. And I still missed it when it was six feet from my bedroom door." The pub noise had receded, or Rory's hearing had narrowed. The two of them existed in a pocket of compressed air, old wounds exposed to bar light and the smell of hops. "You couldn't have known." "You could have told me." "And said what? Hey Meg, between Hadley's Constitutional Law seminar and that thing at the student union, my boyfriend fractured my wrist and told me I tripped on the stairs?" The scar caught the light. Meg stared at it. "That's not from a childhood accident." "No." "Your mum told me it was." "My mum tells a lot of stories. It's the Welsh teacher in her." Meg pressed her palms flat on the bar. Her nails were perfect ovals, painted something neutral and expensive. Rory remembered when those hands had ink stains and chipped polish and a silver ring from a market stall in the Cardiff Arcades. "I made junior partner," Meg said. "You mentioned." "I eat lunch at my desk. I bill ninety hours a week. I own a flat in Canary Wharf that I sleep in maybe four nights out of seven. I haven't cooked a meal since, God, since that risotto I burned at your birthday. Remember?" "You set off every smoke alarm in the building." "The fire brigade came. That one fireman gave me his number." "You lost it." "I framed it. It's still on my desk at the flat." A ghost of a smile. "Point is, I did everything right. Took every rung. Hit every mark. And I still feel like I'm running from something, only I can't name it because I never stayed still long enough to look." The jukebox ran out of songs. In the gap, someone laughed at a table near the door, and the sound was jarring, a colour that didn't belong in the painting. "You didn't come here looking for me," Rory said. "I came to meet a client. Hedge fund type. Wanted somewhere 'authentic.'" Meg's fingers drew quotation marks. "He never showed." "His loss." "And then I walk in and there you are. Five years. Sat at the end of a bar in Soho like you've been waiting." "I wasn't waiting." "No. You were hiding." Meg said it without cruelty, the way a surgeon names what she's found. "Same as me, just with less square footage." Rory finished her whiskey. The glass was warm in her hand. "I'm not hiding." "You're delivering food and living above a pub." "I'm delivering food and living above a pub, and nobody hits me, and I sleep through the night, and I can leave whenever I want without explaining where I'm going. Don't measure my life against yours, Meg. Your yardstick doesn't fit." Meg's composure cracked, a fracture line running from her eyes down to her mouth. She opened her lips to speak and nothing came out. She closed them. Tried again. "I'm sorry." "Don't be. You got where you wanted to go." "I got where I was told to go. There's a difference." Meg reached for her coat. Stopped. Her hand hovered over the charcoal wool. "Have dinner with me." "It's eleven o'clock." "Breakfast, then. Tomorrow. There's a café on Greek Street, the one with the terrible murals." "I know it." "Seven thirty. I have court at nine." "Meg." "Please." The word hung between them, stripped of lawyerly armour, naked as those freckles on her nose. Rory looked at her, this woman she'd once known so well she could predict which mug she'd reach for in the morning, who now wore a stranger's wardrobe and spoke with a stranger's accent but still said "please" like a girl from the Valleys. "Seven thirty." Meg exhaled. She pulled on her coat, buttoned it, hesitated, then leaned in and pressed her lips to Rory's temple. The gesture lasted half a second and carried the weight of five absent years. "Greek Street," Meg said from the door. "Don't evaporate." The green neon sign washed her silhouette in cold light, and she was gone. Silas materialised with the whiskey bottle. He leaned against the bar and refilled her glass, his hazel eyes carrying a question he was too well-trained to ask. "Old friend," Rory said. "Gathered that. She left her scarf." A thin cashmere thing, ink-blue, draped across the back of the stool. Rory picked it up. It smelled like expensive perfume and the ghost of cigarettes, a habit Meg had sworn she'd kicked in second year. The bookshelf at the back of the bar caught her eye, the one that wasn't a bookshelf, the one she wasn't supposed to know about. Silas followed her gaze and his hand went to his signet ring, an old tell he'd never trained away. "Something on your mind?" "Wexler Graves." Rory folded the scarf into a neat square. "Corporate division. You know the name?" Silas didn't blink. He picked up his towel, draped it over his shoulder, and reached for a glass. "Finish your drink, Rory." "That's not a no." His hand stopped on the glass. The photographs on the walls seemed to lean in, those nameless faces in nameless cities, frozen in moments that meant something to someone who'd never explain. "No," he said. "It isn't."
created_at"2026-02-24T22:42:25.674Z" 2/24/2026, 10:42:25 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1522
moderation_latency226
generation_time92493
tokens_prompt4618
tokens_completion3195
native_tokens_prompt4735
native_tokens_completion3299
native_tokens_completion_images(null)
native_tokens_reasoning163
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"
usage0.10615
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"34b6163d-c767-40e9-9114-768c9b424320"
is_byokfalse
latency1429
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771972945-JitqCeJ8fcWaN57JfVzm"
upstream_id"34b6163d-c767-40e9-9114-768c9b424320"
total_cost0.10615
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
totalTags22
adverbTagCount1
adverbTags
0"Meg's fingers tightened around [around]"
dialogueSentences100
tagDensity0.22
leniency0.44
rawRatio0.045
effectiveRatio0.02
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1980
totalAiIsmAdverbs0
found(empty)
highlights(empty)
80.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found
0"Marcus"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
79.80% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1980
totalAiIsms8
found
0
word"scanned"
count1
1
word"lilt"
count1
2
word"intensity"
count1
3
word"traced"
count1
4
word"silence"
count1
5
word"fractured"
count1
6
word"perfect"
count1
7
word"carried the weight"
count1
highlights
0"scanned"
1"lilt"
2"intensity"
3"traced"
4"silence"
5"fractured"
6"perfect"
7"carried the weight"
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
narrationSentences106
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences106
filterMatches(empty)
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences183
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
totalWords1980
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions32
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions76
wordCount1215
uniqueNames23
maxNameDensity1.98
worstName"Meg"
maxWindowNameDensity5
worstWindowName"Meg"
discoveredNames
Rory21
Priya1
Raven1
Nest1
Thursday1
Wardour1
Street1
Silas10
September1
Carter1
Golden1
Empress1
Cardiff2
Howell1
Meg24
Silence1
Cathays1
Tort1
Law1
Prosecco1
Arcades1
Stopped1
Valleys1
persons
0"Rory"
1"Priya"
2"Raven"
3"Nest"
4"Silas"
5"Carter"
6"Howell"
7"Meg"
8"Silence"
places
0"Wardour"
1"Street"
2"Golden"
3"Cardiff"
4"Cathays"
5"Valleys"
globalScore0.512
windowScore0
79.58% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount2
matches
0"looked like a firm logo"
1"smelled like expensive perfume and the gho"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1980
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences183
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs113
mean17.52
std18.63
cv1.063
sampleLengths
019
116
23
337
497
527
65
74
87
948
1061
117
1241
138
141
1523
161
1769
1812
193
2033
211
226
232
2458
259
264
272
2819
2927
304
315
321
3330
3416
354
3636
3721
382
392
405
4130
425
4315
4474
457
467
475
4813
4915
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences106
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs220
matches
0"was jarring"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences183
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1220
adjectiveStacks0
stackExamples(empty)
adverbCount31
adverbRatio0.02540983606557377
lyAdverbCount3
lyAdverbRatio0.002459016393442623
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences183
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences183
mean10.82
std9.64
cv0.891
sampleLengths
019
112
24
33
431
56
66
730
835
926
1012
1115
125
134
147
1516
167
1711
184
1910
204
2115
2221
237
2414
257
2624
2717
288
291
302
3116
325
331
348
355
362
3720
3816
3918
4010
412
423
437
4424
452
461
476
482
495
60.66% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.39344262295081966
totalSentences183
uniqueOpeners72
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences95
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences95
matches
0"He swept the shards into"
1"She hadn't been on the"
2"She'd been restocking the bourbon"
3"They got old maps on"
4"She took a sip and"
5"Her father's calls had increased"
6"He knew she wouldn't hang"
7"Her gaze passed over Rory,"
8"She slid onto the adjacent"
9"She watched the ripples spread."
10"They'd shared a flat in"
11"She flagged Silas for another"
12"He brought the bottle."
13"he said, and the slight"
14"She drank half of it"
15"Her nails were perfect ovals,"
16"She opened her lips to"
17"She closed them."
18"Her hand hovered over the"
19"She pulled on her coat,"
ratio0.253
7.37% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount86
totalSentences95
matches
0"The glass slipped from Rory's"
1"Silas reached across with a"
2"He swept the shards into"
3"She hadn't been on the"
4"She'd been restocking the bourbon"
5"The Raven's Nest hummed with"
6"They got old maps on"
7"Rory settled onto a stool"
8"Silas slid her a whiskey"
9"She took a sip and"
10"Her father's calls had increased"
11"Brendan Carter understood angles."
12"He knew she wouldn't hang"
13"The door swung open."
14"A woman stepped in, tall,"
15"Heels that clicked against the"
16"Rory's whiskey stopped halfway to"
17"The woman scanned the room"
18"Her gaze passed over Rory,"
19"Neither of them moved for"
ratio0.905
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences95
matches(empty)
ratio0
15.87% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount8
matches
0"The Raven's Nest hummed with its usual Thursday crowd, a mix of media types from Wardour Street and the odd lost tourist who'd wandered past the green neon sign…"
1"They got old maps on dark walls, black-and-white photographs of places nobody recognised, and Silas, who poured generous measures and remembered your name after…"
2"A thin gold chain at her throat with a pendant Rory didn't recognise, something that looked like a firm logo."
3"She slid onto the adjacent stool without being invited, shed her coat to reveal a slate-grey blouse with buttons that caught the dim light."
4"Silas poured the drink, set it down, and retreated to the other end of the bar, where he busied himself with glasses that didn't need polishing."
5"Rory had proofread every one of Meg's essays, even the ones about maritime disputes that read like instruction manuals."
6"Meg poured her own drink, a generous measure that contradicted the polished exterior."
7"The photographs on the walls seemed to lean in, those nameless faces in nameless cities, frozen in moments that meant something to someone who'd never explain."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount1
matches
0"Meg said, the way a surgeon names what she's found"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount0
fancyTags(empty)
dialogueSentences100
tagDensity0.1
leniency0.2
rawRatio0
effectiveRatio0
80.7758%