Run: 2026-03-03-01KJTYNDYT7S2X261AWBV0TFPE

Run Details

Duration:
4m 16s
Cost:
$0.004342
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
My boot sinks into moss that glows pale, milky green, and I freeze mid-step because I haven’t walked on ground like this since a scout trip in the Brecon Beacons, and even then it didn’t light up when I shifted my weight. The Heartstone around my neck flares bright crimson, painting the shadow at my shoulder red. Nyx’s form shifts, their wispy silhouette curling tighter, edges fraying like they’re struggling to hold solid form out here. We’d slipped past Richmond Park’s last security guard an hour ago, following the faint tingle of the stone that started last night, growing sharper as we drove south from my flat above Silas’ bar. The paved path vanished ten minutes back, replaced by ferns that tower over my head, their fronds edged with blue light that flickers when the wind blows. The air smells like jasmine and crushed blackberries, and something sharp, like caramelized sugar left on a hot pan too long. I fumble for my phone, pulling it out of my coat pocket, but the screen is black, no signal, no time. A strand of my shoulder-length black hair falls in front of my face, and I brush it away, my fingers brushing the small crescent scar on my left wrist, the one from the childhood farm fence accident. Rift. Hel-bound. Nyx’s voice is a whisper carried on the wind, not quite in my ears but seeming to come from every shadow at once. I reach into my inner coat pocket, fingers closing around the cold, slender hilt of the Fae blade Isolde gave me. It’s moonsilver, leaf-shaped, and it hums softly when my knuckles brush the wards woven into its sheath. I step carefully over a patch of bluebells that shouldn’t bloom in mid-December, their petals glowing pale blue, and follow the thrumming of the Heartstone. Up ahead, three massive oak trunks ring the clearing, their bark black and gnarled, but they’re not natural trees—their bases are carved with swirling patterns I don’t recognize, and their tops are capped with flat altars, each holding a small bowl filled with liquid that glows like melted sunlight. The air here is warmer than the crisp London December outside, almost stifling, like stepping into a greenhouse in July. My forehead glistens, and I pull my coat collar loose, but the heat doesn’t fade. I look down, and my stomach twists—neither my boots nor Nyx’s shifting shadow leave any prints on the glowing moss. A figure steps out from between two of the oak stones, silver hair falling to her waist, catching the light from the golden bowls. Her lavender eyes are wide, and she doesn’t leave any footprints either, just glides across the moss. She tilts her head, and her voice is soft, laced with riddles: "The stone’s song led you here, little fox." I start to speak, but the Heartstone throbs so hard it makes my wrist ache. I turn toward the sound, and see the rift: a jagged crack in the air between the third and fourth oak stones, shimmering silver, like the Veil Wardens monitor, but torn, edges curling inward like a fresh wound. Nyx steps in front of me, their shadow form blocking the rift from view. "It’s active. Pulling magic from the grove." The scent of burnt caramel sharpens into something metallic, like blood, and a low, gurgling sound echoes from the other side. It’s the same scent I smelled helping my mum bake Welsh cakes when I was seven, but that can’t be right—we haven’t baked them since before I left Cardiff. I crane my neck to look through the tear, and my breath catches: rows and rows of thick green vines, climbing trellises that stretch toward a sky the color of burnt honey, with tables set with heaping platters of glistening food. Isolde puts a gentle hand on my arm, her skin cold like the Fae blade. "Winter solstice. The Veil wears thin across all realms. This crack grew overnight. A month ago, this grove was safe." Her gaze flickers to my phone, and she nods. "Time moves differently here. An hour outside could be a day inside, or a minute." "Those are helbound souls, contracted to Prince Belphegor’s realm," she says, and I know she means the figures through the rift. "They feed on mortal magic, and they will tear this grove apart if they get through." I glance at the Heartstone, which pulses faster now, the crimson glow brighter. "How do we close it?" Isolde’s lips curve into a faint smile, her lavender eyes crinkling at the corners. "The stone is from Dymas. It will attract them, but it will also weaken their wards. Hold it in your palm, press the Fae blade to the rift’s center. Moonsilver cuts through the Veil’s tears." I unclasp the silver chain, pulling the Heartstone off and holding it in my left palm. The stone warms immediately, seeping heat into my skin, and the hum of the rift grows louder. I grip the Fae blade in my right hand, the cold metal seeping into my fingers, and step forward. Nyx stays at my side, their shadow form wrapping around my arm, their faintly glowing violet eyes fixed on the rift. "We’ll cover you," their whisper carries on the wind. I reach the rift, and the gurgling sound grows louder, like something is choking on too much food. A pale, slimy hand reaches through the tear, grabbing at my wrist—right over the small crescent scar from the farm fence accident. I gasp, and the scar flares bright silver, the same color as the Fae blade. The hand recoils, hissing, and pulls back through the rift. I don’t hesitate. I raise the Fae blade, and bring it down hard against the center of the rift. The blade cuts through the shimmering silver air, and a sharp, hissing sound fills the clearing, like boiling water. The rift shrinks, but then pulls back, stronger this time, and another slimy hand reaches through. This time, Nyx’s shadow form stretches forward, wrapping around the hand and pulling it back. The hissing grows louder, and the rift shrinks further, until it’s just a thin, silver crack. I press the Fae blade to the crack, and the silver glow spreads outward, smoothing over the tear until there’s no sign of the rift at all. The hum stops. The moss stops glowing. The golden bowls on the altars stop rattling. The air smells like jasmine again, no trace of burnt caramel or blood. I let out a breath I didn’t know I was holding, leaning forward on my knees. My left wrist throbs, where the slimy hand grabbed me, and I look down at the scar, which is still faintly glowing silver. Nyx’s form solidifies a little more, their silhouette clearing up until I can see the faint outline of human shoulders. "You did it. Not bad for a part-time delivery driver." Isolde walks over, her silver hair falling over her shoulders, and she nods at me. "Well done, Rory Carter. You closed the rift before it could spread." I start to thank her, but then I hear it: a soft, cracking sound, like an oak branch breaking. I turn, and my blood runs cold. The third oak stone, the one with the swirling carvings, has split down the middle, and through the crack, I can see the amber sky of that same vineyard realm, the heaping platters of food, and rows of shadowy figures moving toward the rift. A single, black feather drifts out from the crack, landing on my palm. The Heartstone in my other palm starts to burn, so hot it makes me drop it, and the moss under my feet starts to turn black, wilting away instantly. Isolde’s lavender eyes widen, and she gasps. "You didn’t just close a rift. You woke something that was sleeping beneath the stone." The black feather in my palm burns, and I feel a cold, slimy shadow wrap around my ankle, just as the oak stone splits further, and the first helbound soul steps through.
created_at"2026-03-03T22:56:24.57Z" 3/3/2026, 10:56:24 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1732
moderation_latency(null)
generation_time255669
tokens_prompt5338
tokens_completion10029
native_tokens_prompt5323
native_tokens_completion9525
native_tokens_completion_images(null)
native_tokens_reasoning7724
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"
usage0.0043423
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772578585027b3d24476cb0847a2446e1bf5e527b37b106564"
is_byokfalse
latency1732
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772578584-wxK2CGBUd42ZLQEGhQmC"
upstream_id"021772578585027b3d24476cb0847a2446e1bf5e527b37b106564"
total_cost0.0043423
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
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.417
leniency0.833
rawRatio0
effectiveRatio0
92.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1350
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"carefully"
count1
highlights
0"softly"
1"carefully"
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)
77.78% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1350
totalAiIsms6
found
0
word"weight"
count1
1
word"whisper"
count2
2
word"stomach"
count1
3
word"echoes"
count1
4
word"glistening"
count1
highlights
0"weight"
1"whisper"
2"stomach"
3"echoes"
4"glistening"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences63
matches(empty)
0.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount5
hedgeCount3
narrationSentences63
filterMatches
0"look"
1"know"
2"hear"
3"feel"
hedgeMatches
0"start to"
1"starts to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences71
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1346
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount1189
uniqueNames15
maxNameDensity0.59
worstName"Nyx"
maxWindowNameDensity2
worstWindowName"Fae"
discoveredNames
Brecon1
Beacons1
Heartstone6
Richmond1
Park1
Fae6
Isolde5
London1
December2
July1
Nyx7
Veil1
Wardens1
Welsh1
Cardiff1
persons
0"Isolde"
1"Nyx"
places
0"Brecon"
1"Heartstone"
2"Richmond"
3"Park"
4"London"
5"July"
6"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount1
matches
0"not quite in my ears but seeming to come from every shadow at once"
51.41% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.486
wordCount1346
matches
0"not quite in my ears but seeming to come from every shadow at once"
1"neither my boots nor"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences71
matches
0"trellises that stretch"
79.21% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs27
mean49.85
std21.3
cv0.427
sampleLengths
076
161
279
32
461
574
655
761
853
921
1091
1159
1237
1318
1449
1552
1630
1765
1854
1958
2028
2139
2230
2327
2483
2551
2632
99.69% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences63
matches
0"are carved"
1"are capped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs197
matches
0"was holding"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences4
totalSentences71
ratio0.056
matches
0"Up ahead, three massive oak trunks ring the clearing, their bark black and gnarled, but they’re not natural trees—their bases are carved with swirling patterns I don’t recognize, and their tops are capped with flat altars, each holding a small bowl filled with liquid that glows like melted sunlight."
1"I look down, and my stomach twists—neither my boots nor Nyx’s shifting shadow leave any prints on the glowing moss."
2"It’s the same scent I smelled helping my mum bake Welsh cakes when I was seven, but that can’t be right—we haven’t baked them since before I left Cardiff."
3"A pale, slimy hand reaches through the tear, grabbing at my wrist—right over the small crescent scar from the farm fence accident."
98.69% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount241
adjectiveStacks0
stackExamples(empty)
adverbCount10
adverbRatio0.04149377593360996
lyAdverbCount1
lyAdverbRatio0.004149377593360996
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences71
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences71
mean18.96
std10.1
cv0.533
sampleLengths
042
115
219
334
427
521
621
737
81
91
1023
1121
1217
1325
1449
1520
1615
1720
1824
1917
2020
2115
2238
2314
247
2521
2629
2741
2815
2929
3015
3121
3216
3313
345
3514
3635
3716
3817
3919
4021
419
4218
4322
4415
4510
463
4716
4819
4916
38.73% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.29577464788732394
totalSentences71
uniqueOpeners21
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences61
matches(empty)
ratio0
29.84% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences61
matches
0"My boot sinks into moss"
1"We’d slipped past Richmond Park’s"
2"I fumble for my phone,"
3"I reach into my inner"
4"It’s moonsilver, leaf-shaped, and it"
5"I step carefully over a"
6"My forehead glistens, and I"
7"I look down, and my"
8"Her lavender eyes are wide,"
9"She tilts her head, and"
10"I start to speak, but"
11"I turn toward the sound,"
12"It’s the same scent I"
13"I crane my neck to"
14"Her gaze flickers to my"
15"she says, and I know"
16"I glance at the Heartstone,"
17"I unclasp the silver chain,"
18"I grip the Fae blade"
19"their whisper carries on the"
ratio0.475
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount60
totalSentences61
matches
0"My boot sinks into moss"
1"The Heartstone around my neck"
2"Nyx’s form shifts, their wispy"
3"We’d slipped past Richmond Park’s"
4"The paved path vanished ten"
5"The air smells like jasmine"
6"I fumble for my phone,"
7"A strand of my shoulder-length"
8"Nyx’s voice is a whisper"
9"I reach into my inner"
10"It’s moonsilver, leaf-shaped, and it"
11"I step carefully over a"
12"The air here is warmer"
13"My forehead glistens, and I"
14"I look down, and my"
15"A figure steps out from"
16"Her lavender eyes are wide,"
17"She tilts her head, and"
18"I start to speak, but"
19"I turn toward the sound,"
ratio0.984
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences61
matches(empty)
ratio0
85.71% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount4
matches
0"My boot sinks into moss that glows pale, milky green, and I freeze mid-step because I haven’t walked on ground like this since a scout trip in the Brecon Beacon…"
1"I step carefully over a patch of bluebells that shouldn’t bloom in mid-December, their petals glowing pale blue, and follow the thrumming of the Heartstone."
2"Up ahead, three massive oak trunks ring the clearing, their bark black and gnarled, but they’re not natural trees—their bases are carved with swirling patterns …"
3"A figure steps out from between two of the oak stones, silver hair falling to her waist, catching the light from the golden bowls."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"She tilts, and her voice is soft, laced with riddles:"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences12
tagDensity0.083
leniency0.167
rawRatio0
effectiveRatio0
72.6220%