Run: 2026-03-03-01KJTYNRSEC8M9344DEG244XGT

Run Details

Duration:
4m 25s
Cost:
$0.004529
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 crackle of brambles behind me cuts off as my boot hits moss that doesn’t crunch. I freeze, hand flying first to the frayed strap of my Golden Empress delivery bag, then to the silver chain at my throat where the Heartstone pendant thrums warm, almost hot, against my skin. I swipe at a bramble scratch on my left forearm, and my thumb brushes the faint crescent scar there, the one I got when I fell off my bike as a kid, chasing a stray cat in Cardiff. The faint violet glint of Nyx’s form bobs half a step behind me, their shadowy shoulders hunching like they’re pushing through an invisible net. Their voice brushes my ear, soft as dandelion fluff, not the sharp London gusts I’m used to. You did not bring offerings. Fae groves demand first taste of a guest’s intent, even if you do not carry a wicker basket of honey cakes. I snort, twisting to look back over my shoulder. The overgrown hedge of blackberry brambles I just clambered through is gone. In its place rise three ancient oak standing stones, their bark scored with thin, silver lines that glow faintly even in the dim, golden light filtering through the canopy above. The air behind the stones smells like damp asphalt and diesel, the same as the bike path I abandoned ten minutes ago, but when I step forward, that scent vanishes, replaced by something sweeter. I follow the pull of the pendant, my feet carrying me deeper into the clearing, past a cluster of tiny bluebells that Nyx drifts through without so much as rustling a petal. The moss under my boots feels like crushed silk rather than damp earth, no twigs snapping underfoot, no pebbles scraping the soles of my scuffed trainers. The air tastes like honeyed jasmine and something sharp, wild, like the blackcurrant jam my mum used to stir into her morning porridge, but brighter, like it’s been picked at dawn. In the distance, a ribbon of light winds through the trees, its surface shifting like liquid starlight, and it hums a soft, high note that settles in my bones like warm earl grey tea. Nyx pauses, their violet eyes glowing brighter, and they tilt their head. You are carrying a rift’s echo. The pendant’s pulse quickens, and I press a finger to the deep crimson gem, feeling its warmth spread down my chest, through my ribs, until it tingles at the base of my spine. A faint sound makes me freeze again: bare feet on moss, but no indentation, no crunch of soil or shift of fronds. I turn, and there she is, stepping out from behind a stand of ash trees. Her silver hair falls to her waist, braided with wild ivy and blue cornflowers, and her lavender eyes glint like crushed amethyst. She is barefoot, and when she steps closer to me, the moss beneath her feet does not flatten, does not leave a single print. I blink, staring at her feet, and she smiles, a slow, quiet thing that crinkles the corners of her eyes. You noticed. Few travelers do, before the first vision takes them. The Seer herself, Nyx’s voice cuts in, sharp and dry, their shadowy form solidifying for a fraction of a second, towering over me by nearly a foot. I thought you’d have better sense than lurk in a grove that feeds on curiosity. Isolde’s laugh sounds like wind through glass chimes, light and clear. We do not lurk. We wait. For those who carry pieces of Hel in their pockets. She nods at the pendant at my throat, and my hand flies back to it, suddenly heavy, like someone has tied a stone to the chain. You know where this came from, I say, my voice steady, even though my pulse is throbbing in my ears. Isolde sits down on a mossy stone bench that suddenly appears beneath her, though I saw no wood or mortar moments ago. It was forged in Dymas, for a warder who failed to seal the rift that now gnaws at your London margins. The warder lost their life trying to contain the spillover, and the pendant slipped through the cracks of bureaucratic paperwork and faded memories, never to be found again. Dymas. The word tastes like ash on my tongue. I’ve heard the stories from the few old-timer bartenders who’ll talk about the stuff that slips through the cracks. Prince Belphegor’s realm, where feasts never end and the chefs hunt for mortal ingredients to add to their menus. Isolde’s smile fades, just a little, and her lavender eyes grow sharp, focused. The rift has widened in the past three moons. The helbound chefs have been slipping through, stealing mortal produce, even mortal creatures, to add to their gluttonous feasts. Last week, a group of dog walkers found a cat torn apart near the park’s west gate. It was not a fox that did that. My blood runs cold. I’d seen the news posts about it, the local Facebook groups filled with panicked questions, but I’d written it off as a coyote or a stray dog. I reach up again, touching the pendant, and it pulses again, brighter this time, as if echoing my fear. I look around the clearing again, and I notice things I missed at first. The oak standing stones at the threshold shimmer with a faint silver light, the same as the runes carved into their bark, and the air between the trees shimmers too, a faint, wavy distortion I can only see when I squint, like heat haze but cool to the touch. That’s the Veil, Nyx whispers, drifting over to stand beside the starlight stream. It frays here, more than most places. You would see it now, since you carry a piece of Hel. I step closer to the stream, my boots barely brushing the moss at its edge. The water shifts, its surface glinting with tiny flecks of amber, the same warm color as the sky I read about in Dymas’s description. Beneath the surface, tiny fish dart through the starlight, their scales shifting from silver to gold to deep crimson, matching the Heartstone’s gem. I reach out, my fingers hovering over the water, and one of the fish swims right up to my hand, its scales brushing my skin, warm as sunlight through glass. Then a sharp, stinging pain pricks my wrist, and I yank my hand back, staring at a cluster of tiny, star-shaped blooms growing at the edge of the stream. One of their petals has pricked my skin, leaving a tiny red dot, and the air around the flowers smells suddenly sharp, like spoiled fruit. Curiosity is a gift, not a trespass, unless you steal what is not offered, a soft voice says beside me. Isolde has stepped up beside me, and she brushes her hand over the star-shaped blooms, and they unfurl, releasing a sweet, vanilla scent that makes my head feel light. They only prick those who come with fear in their hearts, not curiosity. I nod, still staring at the flowers, and my gaze falls on the amber flecks in the stream. They’ve multiplied, until the entire ribbon of water glows with the same warm amber light as Dymas’s sky. The hum of the stream grows louder, deeper, and I hear a low, gurgling sound, like a stomach growling too loud, echoing from behind the ash trees. Nyx’s form flickers, their violet eyes glowing brighter than they have all day, and they step in front of me, their shadowy body stretching to block my view. The rift has spit one out. Their voice is quieter now, urgent, a whisper carried on a wind that didn’t exist a moment ago. Isolde stands up straight, her lavender eyes narrowing, and she pulls a slender, leaf-shaped dagger from her belt. The blade is made of a silvery metal that glows faintly in the golden light, and it feels cold to the touch, even through the thick leather of my delivery gloves. This is the Fae-Forged Blade, she says, holding it out to me. It will cut through their wards, and it will burn their kind. They do not like Fae steel. I take the dagger, my fingers wrapping around the cold hilt, and I feel a surge of confidence, even as my hands start to shake. The gurgling sound grows louder, and a figure slithers out from behind the cluster of ash trees, tall and gaunt, its skin like roasted meat, its eyes black, empty pits, and it holds a rusted cleaver in one hand. It snarls, a wet, gurgling sound, and lurches forward.
created_at"2026-03-03T22:56:35.66Z" 3/3/2026, 10:56:35 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2503
moderation_latency(null)
generation_time265083
tokens_prompt5338
tokens_completion10445
native_tokens_prompt5323
native_tokens_completion9991
native_tokens_completion_images(null)
native_tokens_reasoning8113
native_tokens_cached5176
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"
usage0.0045287
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772578595786f5fadfdc607fef478c6f908597481ccef46416"
is_byokfalse
latency2503
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772578595-WwjFMH8DC8Sffk0mc66k"
upstream_id"021772578595786f5fadfdc607fef478c6f908597481ccef46416"
total_cost0.0045287
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
totalTags0
89.63% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1447
totalAiIsmAdverbs3
found
0
adverb"suddenly"
count3
highlights
0"suddenly"
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)
58.53% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1447
totalAiIsms12
found
0
word"glint"
count2
1
word"silk"
count1
2
word"echo"
count1
3
word"pulse"
count2
4
word"warmth"
count1
5
word"echoing"
count2
6
word"glinting"
count1
7
word"stomach"
count1
8
word"whisper"
count1
highlights
0"glint"
1"silk"
2"echo"
3"pulse"
4"warmth"
5"echoing"
6"glinting"
7"stomach"
8"whisper"
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
emotionTells1
narrationSentences76
matches
0"e with fear"
11.28% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount6
hedgeCount1
narrationSentences76
filterMatches
0"know"
1"look notice"
2"feel"
3"hear"
hedgeMatches
0"start to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences76
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1447
ratio0
matches(empty)
25.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions2
matches
0"You know where this came from, I say, my voice steady, even though my pulse is throbbing in my ears."
1"This is the Fae-Forged Blade, she says, holding it out to me."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions38
wordCount1447
uniqueNames17
maxNameDensity0.41
worstName"Nyx"
maxWindowNameDensity1.5
worstWindowName"Isolde"
discoveredNames
Golden1
Empress1
Heartstone2
Cardiff1
Nyx6
London2
Seer1
Hel2
Dymas4
Belphegor1
Facebook1
Veil1
Fae-Forged1
Blade1
Fae3
You5
Isolde5
persons
0"Heartstone"
1"Nyx"
2"Belphegor"
3"You"
4"Isolde"
places
0"Golden"
1"Cardiff"
2"London"
3"Dymas"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount1
matches
0"as if echoing my fear"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1447
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences76
matches
0"lines that glow"
45.02% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs20
mean72.35
std22.25
cv0.308
sampleLengths
088
167
285
3123
451
5114
642
753
891
947
1066
1150
1295
1392
1454
1562
1663
1752
1879
1973
86.80% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences76
matches
0"is gone"
1"been picked"
2"was forged"
3"is made"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs217
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences76
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1452
adjectiveStacks2
stackExamples
0"tiny, star-shaped blooms"
1"slender, leaf-shaped dagger"
adverbCount38
adverbRatio0.026170798898071626
lyAdverbCount9
lyAdverbRatio0.006198347107438017
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences76
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences76
mean19.04
std9.95
cv0.522
sampleLengths
016
134
238
324
417
55
621
79
812
930
1034
1132
1226
1331
1434
1512
166
1733
1822
1915
2022
2124
2220
232
249
2527
2615
2711
284
292
3010
3126
3220
3322
3421
3528
361
378
3819
3919
4013
419
4219
4317
448
454
4627
4719
4814
4949
49.12% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.34210526315789475
totalSentences76
uniqueOpeners26
45.66% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences73
matches
0"Then a sharp, stinging pain"
ratio0.014
33.70% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences73
matches
0"I freeze, hand flying first"
1"I swipe at a bramble"
2"Their voice brushes my ear,"
3"You did not bring offerings."
4"I snort, twisting to look"
5"I follow the pull of"
6"You are carrying a rift’s"
7"I turn, and there she"
8"Her silver hair falls to"
9"She is barefoot, and when"
10"I blink, staring at her"
11"I thought you’d have better"
12"We do not lurk."
13"She nods at the pendant"
14"You know where this came"
15"It was forged in Dymas,"
16"I’ve heard the stories from"
17"It was not a fox"
18"My blood runs cold."
19"I’d seen the news posts"
ratio0.466
7.95% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount66
totalSentences73
matches
0"The crackle of brambles behind"
1"I freeze, hand flying first"
2"I swipe at a bramble"
3"The faint violet glint of"
4"Their voice brushes my ear,"
5"You did not bring offerings."
6"Fae groves demand first taste"
7"I snort, twisting to look"
8"The overgrown hedge of blackberry"
9"The air behind the stones"
10"I follow the pull of"
11"The moss under my boots"
12"The air tastes like honeyed"
13"Nyx pauses, their violet eyes"
14"You are carrying a rift’s"
15"The pendant’s pulse quickens, and"
16"A faint sound makes me"
17"I turn, and there she"
18"Her silver hair falls to"
19"She is barefoot, and when"
ratio0.904
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences73
matches(empty)
ratio0
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount6
matches
0"The crackle of brambles behind me cuts off as my boot hits moss that doesn’t crunch."
1"I follow the pull of the pendant, my feet carrying me deeper into the clearing, past a cluster of tiny bluebells that Nyx drifts through without so much as rust…"
2"I’ve heard the stories from the few old-timer bartenders who’ll talk about the stuff that slips through the cracks."
3"Beneath the surface, tiny fish dart through the starlight, their scales shifting from silver to gold to deep crimson, matching the Heartstone’s gem."
4"I reach out, my fingers hovering over the water, and one of the fish swims right up to my hand, its scales brushing my skin, warm as sunlight through glass."
5"Isolde has stepped up beside me, and she brushes her hand over the star-shaped blooms, and they unfurl, releasing a sweet, vanilla scent that makes my head feel…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
77.0708%