Run: 2026-03-03-01KJTYKKRKQT6WW96J3HWQ4FT9

Run Details

Duration:
5m 15s
Cost:
$0.005239
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The Heartstone burned against my sternum, a faint pulse matching the stutter of my pulse. I stumbled over a root half-buried in moss, and Nyx’s shadowy arm looped around my waist to steady me, cool, weightless, like grabbing a gust of night wind. “Easy.” Isolde called, her voice like wind chimes strung with silver. She stood ten paces ahead, back to a stand of oak trees whose bark glowed pale gold in the dim, filtered light. I’d only ever spoken to her over encrypted messages, but the silver hair sweeping down her waist, the lavender eyes that didn’t quite catch the light, gave her away immediately. She didn’t leave footprints in the moss, exactly as she’d promised, no indentation, no disturbance of the velvet-green growth, just her bare feet gliding as if she walked on air. I brushed mud from my delivery jeans, the same ones crusted with duck sauce grease from my shift an hour prior, and adjusted the strap of my neglected Golden Empress delivery bag slung over my shoulder. “You said the grove was hidden between realms.” “I didn’t think it’d feel like stepping into a fairy tale someone forgot to finish.” Isolde laughed, a sound like trickling water over smooth pebbles, and stepped forward to link her arm through mine. Her skin was cold, colder than the mid-November air outside the grove’s standing stones, but it didn’t make me flinch. “Fairy tales are just stories mortals tell to make sense of what they cannot see,” she said, her voice softening as we began to walk deeper into the clearing. “This is the space between the space.” The ground beneath my boots shifted again, from mossy velvet to something finer, like crushed rose petals, and the air filled with a scent that hit me all at once, honey, jasmine, and the sharp, sweet tang of ripened berries I’d never smelled before, not even at the Cardiff farmers’ markets my mother used to take me to. I glanced down, and my breath caught. Wildflowers bloomed in clumps all around us, scarlet poppies, bluebells, gorse that glowed yellow as if lit from within, even though the trees outside the grove were bare and the grass brown and crunchy. Here, the grass was lush and green, the trees draped in ivy that flowered pale pink. I fumbled for my phone, poking the screen awake. The screen glowed 10:12 PM. I blinked. I’d locked my bike to the fence outside the standing stones exactly twenty-one minutes prior. The sun had dipped below the London skyline an hour before that. Isolde’s laughter tinkled again. “Time does not flow the same here,” she said. “An hour inside can be a breath outside, or a century. Choose your words carefully.” Nyx drifted ahead of us, their shadowy form flickering between a solid humanoid silhouette and a wisp of smoke, their violet eyes glowing brighter as they scanned the treeline. “Something’s off,” they whispered, their voice carried on the wind, like it was coming from a hundred tiny voices all at once. “The magic here isn’t just Fae. There’s Hel’s stench clinging to the flowers.” I rubbed the crescent scar on my left wrist, a nervous tick I’d had since I was twelve, when I’d sliced it on a rusted bike chain outside my childhood home. The Heartstone pulsed faster, warm against my skin, and I fumbled to pull it out from under my shirt. The deep crimson gem glowed faintly, its pulse matching the low, guttural rumble that had started in the distance, a sound like a feast bell warped and stretched too thin. “What is that?” I asked, nodding toward the rumble. Isolde’s lavender eyes narrowed, and she pointed to a cluster of ancient oak trees at the far end of the clearing. Between two of the trunks, a faint silver shimmer distorted the air, a thin wavy line that only became visible when I squinted, exactly as the Wardens’ logs had described the Veil. “The Veil’s weakest at winter solstice,” she said. “But this rift did not open by accident. It feeds on excess, this place.” I followed her gaze, and my stomach tightened. The rift rippled, and a tendril of dark, smoky mist seeped through, carrying with it the scent of roasted pork and burnt hoisin sauce, familiar, from the feasts my father used to host before he and my mother split up, from the Saturday night shifts at Golden Empress. Then, a figure stumbled out, skeletal but with a grossly bloated belly, wearing a tattered white chef’s apron stained with dark, congealed grease. Its mouth was full of sharp, yellowed teeth, and it let out a snarl that sounded like a pig being slaughtered. I stared at the faded logo stitched to its chest, Golden Empress. My stomach dropped. Wang, Mrs. Cheung’s head chef, had disappeared six months ago, after a night shift where he’d called in sick claiming a “bad dream.” I’d thought he’d moved back to his family’s village in Guangzhou. “Helbound,” Nyx said, their voice dropping to an even lower whisper. “Contract to Belphegor’s court. They feed on the excess of this realm, the joy and gluttony mortals waste on feasts.” I pulled the pendant tighter, my fingers brushing the crescent scar on my wrist again. The Heartstone burned so hot now it was almost painful, and I could feel the heat seeping into my skin, spreading up my chest and down my arms. Isolde reached into the pocket of her flowy, green cloak and pulled out a slender, leaf-shaped dagger, its blade glinting faintly even in the dim light. The metal was moonsilver, she’d told me once, cold to the touch and sharp enough to cut through magical wards, particularly effective against demons. “Take it,” she said, holding the blade out to me. When my fingers wrapped around it, I felt a faint tingle run up my arm, like static electricity. “It will cut through its magic. Do not let it get close to you. It feeds on mortal fear, and this place has plenty to spare.” I stepped back, tripping over a cluster of bluebells, as the helbound chef lunged forward, its bloated belly swaying as it moved. Nyx darted in front of me, their shadowy arms wrapping around the helbound’s throat, but its clawed hands scraped against Nyx’s form, leaving dark, smoking rents in the shadow that healed almost immediately. The helbound’s teeth snapped shut an inch from Nyx’s shoulder, and I raised the Fae blade, my hands shaking slightly despite my best efforts to stay calm. I drove the blade into the helbound’s chest, and it let out a high-pitched shriek that sounded like a pulled pig’s tail. The blade glowed faintly silver as it cut through the skeletal flesh, and the helbound dissolved into a puff of smoky mist that dissipated quickly, leaving nothing but the stained chef’s apron crumpling to the ground. I let out a breath I didn’t realise I’d been holding, and wiped sweat from my forehead. Before I could say anything, the rift between the oak trees rippled again, and two more helbound chefs stumbled out, their aprons stained with grease, their eyes glowing a sickly yellow. This time, the rift widened, and I could hear the distant rumble of a feast, dozens of voices laughing and clinking glasses, coming from the other side. Isolde stepped in front of me, her lavender eyes narrowed, and she raised her hand, muttering a string of words I didn’t recognise, sharp and guttural. A burst of green light shot from her fingers, hitting one of the helbound’s chests, and it dissolved into mist, but the other one lunged forward, its clawed hands grabbing for my ankle. I stumbled backward, my boot slipping on the crushed petal ground, and the helbound’s fingers closed around my calf, its cold, skeletal touch sending a shiver down my spine. I raised the Fae blade to drive it into its head, but a third helbound stepped out of the rift, this one taller, its belly so bloated it looked ready to burst, wearing a crown of roasted pork belly and apples. The scent of feasts flooded the clearing, and the Heartstone in my hand burned so hot it almost slipped from my grasp, its pulse thudding in time with the distant feast bells from Dymas.
created_at"2026-03-03T22:55:24.982Z" 3/3/2026, 10:55:24 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1087
moderation_latency(null)
generation_time314760
tokens_prompt5338
tokens_completion12637
native_tokens_prompt5323
native_tokens_completion11767
native_tokens_completion_images(null)
native_tokens_reasoning9908
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"
usage0.0052391
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772578525403f0a583d75381f7c0a662383f3247915ec14d17"
is_byokfalse
latency1087
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772578524-0nIvfr9gUylDf6Y56z4i"
upstream_id"021772578525403f0a583d75381f7c0a662383f3247915ec14d17"
total_cost0.0052391
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags10
adverbTagCount1
adverbTags
0"beneath my boots shifted again [again]"
dialogueSentences17
tagDensity0.588
leniency1
rawRatio0.1
effectiveRatio0.1
89.20% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1389
totalAiIsmAdverbs3
found
0
adverb"carefully"
count1
1
adverb"slightly"
count1
2
adverb"quickly"
count1
highlights
0"carefully"
1"slightly"
2"quickly"
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)
42.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1389
totalAiIsms16
found
0
word"pulse"
count4
1
word"velvet"
count2
2
word"sense of"
count1
3
word"scanned"
count1
4
word"pulsed"
count1
5
word"stomach"
count2
6
word"familiar"
count1
7
word"whisper"
count1
8
word"could feel"
count1
9
word"glinting"
count1
10
word"down my spine"
count1
highlights
0"pulse"
1"velvet"
2"sense of"
3"scanned"
4"pulsed"
5"stomach"
6"familiar"
7"whisper"
8"could feel"
9"glinting"
10"down my spine"
0.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches4
maxInWindow4
found
0
label"let out a breath"
count1
1
label"eyes widened/narrowed"
count2
2
label"stomach dropped/sank"
count1
highlights
0"let out a breath"
1"eyes narrowed"
2"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences58
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences58
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences67
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen58
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1389
ratio0
matches(empty)
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
totalMentions30
wordCount1217
uniqueNames12
maxNameDensity0.49
worstName"Nyx"
maxWindowNameDensity2
worstWindowName"Nyx"
discoveredNames
Heartstone4
Nyx6
Golden3
Empress3
Cardiff1
London1
Isolde6
Saturday1
Mrs1
Guangzhou1
Fae2
Dymas1
persons
0"Heartstone"
1"Nyx"
2"Isolde"
3"Mrs"
places
0"Golden"
1"Cardiff"
2"London"
3"Saturday"
4"Guangzhou"
5"Dymas"
globalScore1
windowScore1
2.94% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences51
glossingSentenceCount3
matches
0"quite catch the light, gave her away immediately"
1"sounded like a pig being slaughtered"
2"sounded like a pulled pig’s tail"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1389
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences67
matches(empty)
80.02% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs21
mean66.14
std28.45
cv0.43
sampleLengths
043
193
236
323
475
5115
671
764
880
99
1075
11112
1237
1331
1493
1554
1682
1758
1875
1959
20104
99.21% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences58
matches
0"being slaughtered"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs196
matches
0"was coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences67
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount364
adjectiveStacks0
stackExamples(empty)
adverbCount11
adverbRatio0.03021978021978022
lyAdverbCount3
lyAdverbRatio0.008241758241758242
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences67
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences67
mean20.73
std11.52
cv0.556
sampleLengths
015
128
21
310
422
530
630
736
88
915
1019
1120
1229
137
1458
157
1634
1716
189
195
202
2115
2212
234
249
2515
2629
2722
2813
2931
3019
3130
329
3321
3432
358
3614
378
3848
3923
4021
4112
423
432
4432
4511
4620
4715
4828
4926
70.15% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.44776119402985076
totalSentences67
uniqueOpeners30
61.73% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences54
matches
0"Then, a figure stumbled out,"
ratio0.019
42.22% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences54
matches
0"I stumbled over a root"
1"She stood ten paces ahead,"
2"I’d only ever spoken to"
3"She didn’t leave footprints in"
4"I brushed mud from my"
5"Her skin was cold, colder"
6"she said, her voice softening"
7"I glanced down, and my"
8"I fumbled for my phone,"
9"I’d locked my bike to"
10"they whispered, their voice carried"
11"I rubbed the crescent scar"
12"I asked, nodding toward the"
13"I followed her gaze, and"
14"Its mouth was full of"
15"I stared at the faded"
16"My stomach dropped."
17"I pulled the pendant tighter,"
18"she said, holding the blade"
19"I stepped back, tripping over"
ratio0.444
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount50
totalSentences54
matches
0"The Heartstone burned against my"
1"I stumbled over a root"
2"Isolde called, her voice like"
3"She stood ten paces ahead,"
4"I’d only ever spoken to"
5"She didn’t leave footprints in"
6"I brushed mud from my"
7"Isolde laughed, a sound like"
8"Her skin was cold, colder"
9"she said, her voice softening"
10"The ground beneath my boots"
11"I glanced down, and my"
12"Wildflowers bloomed in clumps all"
13"Here, the grass was lush"
14"I fumbled for my phone,"
15"The screen glowed 10:12 PM."
16"I’d locked my bike to"
17"The sun had dipped below"
18"Isolde’s laughter tinkled again."
19"Nyx drifted ahead of us,"
ratio0.926
92.59% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences54
matches
0"Before I could say anything,"
ratio0.019
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount8
matches
0"She didn’t leave footprints in the moss, exactly as she’d promised, no indentation, no disturbance of the velvet-green growth, just her bare feet gliding as if …"
1"Wildflowers bloomed in clumps all around us, scarlet poppies, bluebells, gorse that glowed yellow as if lit from within, even though the trees outside the grove…"
2"The deep crimson gem glowed faintly, its pulse matching the low, guttural rumble that had started in the distance, a sound like a feast bell warped and stretche…"
3"The Heartstone burned so hot now it was almost painful, and I could feel the heat seeping into my skin, spreading up my chest and down my arms."
4"Nyx darted in front of me, their shadowy arms wrapping around the helbound’s throat, but its clawed hands scraped against Nyx’s form, leaving dark, smoking rent…"
5"The blade glowed faintly silver as it cut through the skeletal flesh, and the helbound dissolved into a puff of smoky mist that dissipated quickly, leaving noth…"
6"A burst of green light shot from her fingers, hitting one of the helbound’s chests, and it dissolved into mist, but the other one lunged forward, its clawed han…"
7"I stumbled backward, my boot slipping on the crushed petal ground, and the helbound’s fingers closed around my calf, its cold, skeletal touch sending a shiver d…"
75.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount1
matches
0"Nyx said, their voice dropping to an even lower whisper"
91.18% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount1
fancyTags
0"they whispered (whisper)"
dialogueSentences17
tagDensity0.412
leniency0.824
rawRatio0.143
effectiveRatio0.118
78.2216%