Run: 2026-03-03-01KJV044GNXE0QWVZHXTE6DRKP

Run Details

Duration:
5m 4s
Cost:
$0.004888
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 crimson stone at my throat thrums so loud I feel it through my molars. I shift my weight, the rubber sole of my Golden Empress delivery boot sinking into something that isn’t tarmac or cobblestone—something soft, loamy, sweet enough to make my mouth water unbidden, like I’ve stepped into the bakery my grandma ran back in Cardiff, back before she retired. My delivery bag slung over my shoulder creaks, the crumpled foil of a half-eaten spring roll peeking out from the top, and I push it closer to my chest, embarrassed. My hand drifts to the inner pocket of my coat, fingers brushing the cold, slender moonsilver dagger tucked inside, and I relax a fraction. A shadow solidifies at my elbow, towering just over six feet, their faint violet eyes glowing against the warm amber sky stretching above us. No sun warms the air, just that soft, honeyed light that makes every shadow look like a living thing, curling at the edges of the trees, slithering between the trunks. You did not mention the grass tasted like ripe peach jam. I lean down, pluck a blade of bright green grass, and bite it. Sweet, juicy, with a hint of wild strawberry, and my stomach growls loud enough that a gaunt figure in the distance turns their head. I don’t recognise them at first—tall, lanky, wearing a tattered white chef’s coat, their face pale and hollow, eyes milky white. They carry a tray piled high with glowing gold fruit, and their feet drag through the grass, leaving faint trails of black ash in their wake. They don’t look at me, don’t acknowledge my presence at all, just keep walking toward a cluster of glowing canvas tents further down the row of trees. A stranger, I tell myself, even as my heart quickens. I spot Isolde ahead, her silver waist-length hair falling in loose waves down her back, her lavender eyes shining like crushed lavender flowers in the amber light. She walks barefoot, not a single footprint left in the soft grass, and my brow furrows before she speaks. The shadow walks with you. The ward held but a breath. You came for the rift that gnaws at the Veil. I catch up to her, my boots squelching in the grass, and gesture at the trees around us. We didn’t mean to step through so fast. My bike skidded on the edge of the Richmond grove, and the next thing I knew, we were here. Isolde’s lips curve in that faint, ethereal smile, and she gestures to a row of pear trees heavy with fruit that glows deep crimson, each pear the size of my head. Look. The fruit glows the colour of your stone. Each one a price paid for a soul bound to this realm. I step closer to one of the trees, and a single pear falls from a branch, rolling through the grass toward my feet. I pick it up, and it’s warm, too warm, and when I press my thumb into the skin, it breaks open to reveal flesh that glows the same deep crimson, sweet-smelling like honey and cloves. My stomach growls again, louder this time, and I lift the pear to my lips, ready to bite down, when a wisp of shadow wraps around my wrist, pulling my hand back. Do not eat. Even the crumbs stick to your soul, and you will never leave. I yank my hand back, my cheeks heating with embarrassment, and rub the crescent-shaped scar on my left wrist without thinking, the skin there tingling like it’s been stung by a bee. The pear dissolves into a pile of black ash at my feet, and the scent of burnt sugar fills the air for a heartbeat before fading away. The shadow beside me shifts, solidifying a little more, and their voice drops to a whisper, loud enough only for me to hear: The ash tastes like the cinders of my old home. I nod, understanding without asking. Nyx had told me their story, once, how they’d been Aldric, a human sorcerer trapped between realms in 1643 when their summoning ritual went wrong, how they’d been a shade ever since. The ash smells like the village that burned down around them, I realise, and I squeeze the shadowy wisp around my wrist in silent solidarity. Isolde walks ahead of us now, her bare feet moving silently over the grass, and says, Follow the scent of the spire. The portal sleeps there, but the wardens of this realm stir. We follow her, moving deeper into the orchard, and the air grows thicker with the smell of roasted meat and sugar, so thick I can taste it on my tongue. We pass a large canvas tent, its flaps pulled open, and inside, I see a line of gaunt figures in stained chef coats, stirring giant cauldrons that bubble with a liquid that glows gold. Their hands are black with ash, and they don’t speak, just keep stirring, their movements slow and mechanical. A stack of silver plates sits beside each cauldron, each plate piled high with food that glows iridescent, and when a breeze blows through the tent, the plates clink together, making a high, chiming sound that makes my teeth ache. Further along, we reach a long table draped in silk that shimmers like oil, covered with plates of food that make my mouth water: roasted squid with iridescent skin, bowls of fruit that glow every colour of the rainbow, stacks of pastries that look like they’re carved from crystal, and pitchers of liquid that glows deep crimson, like spiced wine. I reach out to touch one of the pastries, my fingers hovering just above the sugar-crusted top, when my stomach clenches so hard I double over. Not from hunger, but from the ghost of Evan’s hand on my waist, forcing me to finish a plate of burnt lasagna until I threw up. I yank my hand back, rubbing my scar again, the tingling growing stronger. We round a bend, and the trees part to reveal a clearing filled with the sound of clinking silverware and raised voices. Groups of gaunt figures carry trays of food between the tables, their movements stiff and mechanical, while others sit at the tables, shovelling food into their mouths until their cheeks bulge, before they start crying and shovelling more. The air here is so thick with the scent of excess that I can barely breathe, and my hand flies back to the moonsilver dagger in my coat pocket, the cold metal grounding me. Nyx’s form flickers, and their voice is sharper now, the wind-borne whisper carrying further: The Veil here is frayed. I can feel the space between realms pushing through. Every step, it gets harder to stay solid. I glance down at the Heartstone at my throat, which is thrumming so hard it’s nearly slipping over the silver chain, and then at the crescent scar on my wrist, which is glowing faintly, matching the stone. The air around us starts to shimmer, faint, like heat rising off a pavement on a hot summer day—faint distortions in the air, only visible to those with supernatural sight, just as Isolde had explained weeks prior. We move toward the far edge of the clearing, where a tall, slender tower of amber stone pierces the amber sky. At the base of the spire, there’s a rift, a shimmering distortion in the air bigger than any I’ve ever seen, swallowing the edge of the grass around it. The Heartstone at my throat throbs so hard it nearly pulls the chain over my head, and I grab it, pressing it against my chest, trying to steady my racing heart. A low, guttural sound comes from the shadow at the end of the path, and I freeze. Figures step out from between the trees: tall, broad-shouldered, their skin pale as death, their teeth sharp, their eyes glowing red. They wear tattered livery coats with the crest of a griffin embroidered on the chest, and their hands are outstretched, reaching for us. One of them steps forward, his voice deep and gravelly, like stones being rubbed together: Strangers. Food for the feast.
created_at"2026-03-03T23:21:54.994Z" 3/3/2026, 11:21:54 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency915
moderation_latency(null)
generation_time304030
tokens_prompt5338
tokens_completion11548
native_tokens_prompt5323
native_tokens_completion10888
native_tokens_completion_images(null)
native_tokens_reasoning9115
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"
usage0.0048875
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772580115413cab51c90d4ba35885c8041829e1e0de9f5a6ae"
is_byokfalse
latency915
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772580114-3p1cwzqlmeXMWb9kfSN4"
upstream_id"021772580115413cab51c90d4ba35885c8041829e1e0de9f5a6ae"
total_cost0.0048875
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
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1374
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
59.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1374
totalAiIsms11
found
0
word"weight"
count1
1
word"stomach"
count3
2
word"whisper"
count2
3
word"mechanical"
count2
4
word"silk"
count1
5
word"crystal"
count1
6
word"racing"
count1
highlights
0"weight"
1"stomach"
2"whisper"
3"mechanical"
4"silk"
5"crystal"
6"racing"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences64
matches(empty)
53.57% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences64
filterMatches
0"feel"
1"look"
2"see"
hedgeMatches
0"starts to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences64
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen60
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1371
ratio0
matches(empty)
75.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions1
matches
0"A stranger, I tell myself, even as my heart quickens."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions16
wordCount1371
uniqueNames11
maxNameDensity0.29
worstName"Isolde"
maxWindowNameDensity1
worstWindowName"Isolde"
discoveredNames
Golden1
Empress1
Cardiff1
Isolde4
Veil2
Richmond1
Aldric1
Follow1
Evan1
Heartstone2
Strangers1
persons
0"Isolde"
1"Evan"
places
0"Cardiff"
1"Veil"
2"Richmond"
3"Heartstone"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount1
matches
0"tasted like ripe peach jam"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.729
wordCount1371
matches
0"Not from hunger, but from the ghost of Evan’s hand on my waist, forcing me to fin"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences64
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs29
mean47.28
std37.8
cv0.8
sampleLengths
015
1101
254
311
4111
510
646
75
86
910
1045
1131
121
138
1412
1590
1615
1759
1833
1962
2033
21122
22125
2394
2436
2574
2681
2717
2864
77.85% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences64
matches
0"been stung"
1"carved"
2"is frayed"
3"are outstretched"
4"being rubbed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs205
matches(empty)
8.93% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences3
totalSentences64
ratio0.047
matches
0"I shift my weight, the rubber sole of my Golden Empress delivery boot sinking into something that isn’t tarmac or cobblestone—something soft, loamy, sweet enough to make my mouth water unbidden, like I’ve stepped into the bakery my grandma ran back in Cardiff, back before she retired."
1"I don’t recognise them at first—tall, lanky, wearing a tattered white chef’s coat, their face pale and hollow, eyes milky white."
2"The air around us starts to shimmer, faint, like heat rising off a pavement on a hot summer day—faint distortions in the air, only visible to those with supernatural sight, just as Isolde had explained weeks prior."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1381
adjectiveStacks0
stackExamples(empty)
adverbCount47
adverbRatio0.03403330919623461
lyAdverbCount8
lyAdverbRatio0.005792903692976104
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences64
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences64
mean21.42
std11.7
cv0.546
sampleLengths
015
147
230
324
424
530
611
713
824
921
1026
1127
1210
1327
1419
155
166
1710
1818
198
2019
2131
221
238
2412
2523
2635
2732
283
2912
3032
3127
3223
3310
345
3532
3625
3722
3811
3930
4034
4118
4240
4360
4426
4526
4613
4722
4838
4934
56.77% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.40625
totalSentences64
uniqueOpeners26
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences62
matches
0"Even the crumbs stick to"
1"Further along, we reach a"
ratio0.032
32.90% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences62
matches
0"I shift my weight, the"
1"My delivery bag slung over"
2"My hand drifts to the"
3"You did not mention the"
4"I lean down, pluck a"
5"I don’t recognise them at"
6"They carry a tray piled"
7"They don’t look at me,"
8"I spot Isolde ahead, her"
9"She walks barefoot, not a"
10"You came for the rift"
11"I catch up to her,"
12"We didn’t mean to step"
13"My bike skidded on the"
14"I step closer to one"
15"I pick it up, and"
16"My stomach growls again, louder"
17"I yank my hand back,"
18"I nod, understanding without asking."
19"We follow her, moving deeper"
ratio0.468
24.52% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount54
totalSentences62
matches
0"The crimson stone at my"
1"I shift my weight, the"
2"My delivery bag slung over"
3"My hand drifts to the"
4"A shadow solidifies at my"
5"You did not mention the"
6"I lean down, pluck a"
7"I don’t recognise them at"
8"They carry a tray piled"
9"They don’t look at me,"
10"A stranger, I tell myself,"
11"I spot Isolde ahead, her"
12"She walks barefoot, not a"
13"The shadow walks with you."
14"The ward held but a"
15"You came for the rift"
16"I catch up to her,"
17"We didn’t mean to step"
18"My bike skidded on the"
19"Isolde’s lips curve in that"
ratio0.871
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences62
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences53
technicalSentenceCount11
matches
0"I shift my weight, the rubber sole of my Golden Empress delivery boot sinking into something that isn’t tarmac or cobblestone—something soft, loamy, sweet enoug…"
1"A shadow solidifies at my elbow, towering just over six feet, their faint violet eyes glowing against the warm amber sky stretching above us."
2"No sun warms the air, just that soft, honeyed light that makes every shadow look like a living thing, curling at the edges of the trees, slithering between the …"
3"Isolde’s lips curve in that faint, ethereal smile, and she gestures to a row of pear trees heavy with fruit that glows deep crimson, each pear the size of my he…"
4"I pick it up, and it’s warm, too warm, and when I press my thumb into the skin, it breaks open to reveal flesh that glows the same deep crimson, sweet-smelling …"
5"The ash smells like the village that burned down around them, I realise, and I squeeze the shadowy wisp around my wrist in silent solidarity."
6"We pass a large canvas tent, its flaps pulled open, and inside, I see a line of gaunt figures in stained chef coats, stirring giant cauldrons that bubble with a…"
7"A stack of silver plates sits beside each cauldron, each plate piled high with food that glows iridescent, and when a breeze blows through the tent, the plates …"
8"Further along, we reach a long table draped in silk that shimmers like oil, covered with plates of food that make my mouth water: roasted squid with iridescent …"
9"I glance down at the Heartstone at my throat, which is thrumming so hard it’s nearly slipping over the silver chain, and then at the crescent scar on my wrist, …"
10"The Heartstone at my throat throbs so hard it nearly pulls the chain over my head, and I grab it, pressing it against my chest, trying to steady my racing heart…"
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
79.6504%