Run: 2026-03-11-01KKFERHK2XM0BCP8AB9XFPHYN

Run Details

Duration:
2m 50s
Cost:
$0.015371
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 scuffed black rubber heel of Rory’s delivery boot caught on a half-buried root, and she lurched forward, only kept from face-planting into velvet green moss by a cool, weightless hand curled around her left wrist. The small crescent scar there tingled, the same way it always did when Nyx touched her. She righted herself, brushing damp crumbs of leaf mould from the knees of her faded cargo pants, and glanced back at the gnarled oak standing stones that marked the edge of the clearing they had crossed ten minutes prior. She’d walked Richmond Park a hundred times since moving to London, had tramped its paths in rain and sleet and summer sun, and never once had those stones existed. Thick with ivy and carved with symbols that shifted when she stared too long, they vanished behind a wall of beech trees the second she blinked, as if they had never been there to block her view. Isolde waited ten paces ahead, her waist-length silver hair catching the odd golden light that filtered through the Grove’s canopy. Rory stared at the ground between them, at the thick soft moss that held the deep print of her own boot soles, and the empty space where Isolde’s bare feet pressed into the growth. No indent, no displaced clump, nothing. The half-Fae seer moved as if she weighed nothing at all, as if the earth itself refused to mar its surface for her. “You were warned the threshold doesn’t suffer clumsy mortals.” Nyx’s voice wound through the air, a whisper carried on a breeze that didn’t stir the leaves around them. The shade stood a head and shoulders above Rory, their humanoid shadow form shifting at the edges, their faintly glowing violet eyes fixed on Isolde as they spoke. At 6’2, they loomed over most mortals they met, a side effect of the solid form they wove from shadow when they walked in the mortal realm. “Bloody trees attacked me first. Not my fault.” Rory brushed a strand of straight black hair from her face, her bright blue eyes narrowing at the nearest oak, as if it might reach out and trip her again. “I thought woods were supposed to stay still. You know, rooted to the ground.” “The woods move for those who do not know their names.” Isolde turned, her pale lavender eyes locking on Rory’s, her ageless face softening into a faint smile. She could not lie, bound by Fae compulsion, but she wrapped every truth in riddles that left most who sought her out more confused than they arrived. “You have not earned the right to have them stay still for you, little mortal. You are a guest here, not a keeper.” They moved deeper into the Grove, and Rory’s senses reeled. Wildflowers bloomed in every direction, bluebells tangled with poppies, daffodils twisted around nightshade, every species that should bloom in a separate season growing side by side, vibrant and unapologetic. It was mid-November in London, a week after Guy Fawkes, when the only things growing outside the Grove were dead leaves and mould. The air smelled of jasmine and burnt cinnamon, thick enough to taste on her tongue, and somewhere in the distance a harp trilled a tune she could not place, no player visible through the trees. Bees buzzed around the flowers, their bodies black and gold, an impossibility in the cold of an English autumn. When she fumbled for her phone to check the time, her watch claimed they had been inside the Grove for 47 minutes, while her phone, still syncing to the network outside the boundary, read 12 minutes. She blinked at the conflicting numbers, and Nyx huffed a laugh that sounded like rustling leaves. “Time doesn’t stick here. Isolde wove the grove’s magic to tug it out of shape, keep Fae hunters and mortal treasure seekers from tracking what lies within. An hour inside can be three days outside, or three minutes. You learn to stop checking.” Rory stuffed her phone back into her jacket pocket, her fingers brushing the small moonsilver dagger Isolde had pressed into her hands that morning, before they crossed the standing stones. The Fae-forged blade was always cold, even through the fabric of her jacket, and it hummed faintly when she touched it, a low thrumming that matched the pulse of the Heartstone Pendant she wore under her sweater. The deep crimson thumb-sized gem had arrived in her mailbox a week earlier, no note, no return address, and it had grown steadily warmer the closer they drew to the Grove’s core. She pressed a hand to her chest, the gem throbbing under her palm, and called out to Isolde. “What’s wrong with this stupid rock? It’s been getting hotter since we crossed the threshold. It didn’t do that back at my flat.” Isolde stopped walking, and the hair on the back of Rory’s neck stood up. The seer’s head tilted, as if she was listening to something only she could hear, and when she spoke her riddles were gone, her voice sharp and raw. “Your stone was forged in Dymas, the realm of gluttony, carved from the heart of a mortal who sold their soul to Belphegor for a lifetime of feasts. It pulses when it draws near to the rift that splits the Grove’s core, a tear in the Veil that bleeds into Hel. I have guarded it for three hundred years, since I was exiled from the Fae Courts for sharing visions with mortals. It grows restless as the solstice nears.” The Veil. Rory had heard Nyx mutter about it, the shimmering barrier that separated Earth from the other realms, that weakened every winter solstice, that frayed at the edges to create rifts that let things cross between worlds. She’d thought it was a fairy story, until she’d found her abusive ex Evan in her flat’s hallway three weeks earlier, the man who had tracked her from Cardiff, his throat torn out by something that left claw marks that couldn’t have belonged to any Earthly animal. She’d run to Silas, the bartender who owned the building she lived above, and he’d sent her to Nyx, and Nyx had sent her to Isolde, and now she was standing in a hidden Fae grove, holding a ancient dagger and a demon-forged relic, and her life made less sense than any of the bad horror films she binged on slow shifts delivering takeaway for the Golden Empress. She stepped past Isolde into the central clearing, and her breath caught. Purple fireflies weaved patterns across the air, constellations that shifted and danced, brighter than any star she’d ever seen in smog-choked London. A small pond sat in the middle of the clearing, its water so clear she could see smooth white stones at the bottom, and she leaned over to stare at her reflection. For a heartbeat, it wasn’t her staring back. It was ten-year-old her, climbing a tree in her parents’ Cardiff garden, falling and slicing her wrist open on a broken branch, the scar that would mark her for life blooming red. Then it was 24-year-old her, Evan’s fist raised to strike her in their old Cardiff flat, his face twisted with rage. She stumbled back, gasping, and Nyx caught her shoulder, their shadowy form solid enough to feel like a real hand. “The water shows you what you outran. Not a curse, a reminder. Fae magic doesn’t waste time on cheap tricks.” Rory nodded, her heart hammering, and reached up to grip the Heartstone again. It was burning now, so hot it seared her palm through her sweater, and she yelped, yanking the chain over her head to hold it away from her skin. The crimson gem blazed, casting long red shadows across the clearing, and the ground under their feet shook. The oak trees around them swayed, though no wind blew, and the pond’s water boiled, sending steam curling into the air. The fireflies scattered, vanishing into the trees, and Isolde drew her own blade, a longer version of Rory’s moonsilver dagger, her voice ringing out clear. “The Veil frays. Belphegor’s hounds cross the rift. They smell the mortal blood on you, Rory. They’ve been hunting that stone for a hundred years.” The ground split open ten feet in front of them, a jagged crack that spilled warm amber light into the clearing, the sky of Dymas bleeding through the Veil’s tear. The smell of roasted pork and spiced mead washed over them, thick and cloying, and a deep, baying howl echoed up from the crack, getting closer by the second. Nyx pushed Rory behind them, their shadow form swelling to fill the space between her and the rift, their violet eyes blazing. Rory fumbled the Fae-forged dagger out of her jacket, the leaf-shaped blade glowing bright in the dim light of the clearing, its cold metal a sharp contrast to the burning Heartstone in her other hand. Another howl rang out, closer this time, and a massive shadow moved in the amber light, claws scraping at the edges of the rift. Isolde’s blade lit up, matching Rory’s, and she shouted over the snarls rising from the crack. “Stand fast. They don’t get to take what’s ours.”
created_at"2026-03-11T22:02:32.449Z" 3/11/2026, 10:02:32 PM
model"bytedance-seed/seed-2.0-lite-20260309"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1475
moderation_latency(null)
generation_time169831
tokens_prompt5338
tokens_completion7497
native_tokens_prompt5322
native_tokens_completion7020
native_tokens_completion_images(null)
native_tokens_reasoning5007
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"
usage0.0153705
router(null)
provider_responses
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endpoint_id"bf1a3473-7a0a-46d3-aaa5-adb8f876a697"
id"0217732665528719601394fd5171fb187b1a439528361d31dd2a3"
is_byokfalse
latency1475
model_permaslug"bytedance-seed/seed-2.0-lite-20260309"
provider_name"Seed"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
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upstream_id"0217732665528719601394fd5171fb187b1a439528361d31dd2a3"
total_cost0.0153705
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences11
tagDensity0.364
leniency0.727
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1541
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)
77.29% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1541
totalAiIsms7
found
0
word"lurched"
count1
1
word"velvet"
count1
2
word"whisper"
count1
3
word"loomed"
count1
4
word"pulse"
count1
5
word"reminder"
count1
6
word"echoed"
count1
highlights
0"lurched"
1"velvet"
2"whisper"
3"loomed"
4"pulse"
5"reminder"
6"echoed"
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
narrationSentences50
matches
0"d with rage"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences50
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences58
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen79
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1541
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
94.18% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions69
wordCount1254
uniqueNames23
maxNameDensity1.12
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Rory14
Nyx8
Richmond1
Park1
London3
Grove5
Isolde11
Fae5
Guy1
Fawkes1
English1
Fae-forged2
Heartstone3
Pendant1
Veil2
Earth1
Evan2
Cardiff2
Earthly1
Silas1
Golden1
Empress1
Dymas1
persons
0"Rory"
1"Nyx"
2"Isolde"
3"Guy"
4"Fawkes"
5"Evan"
6"Silas"
7"Dymas"
places
0"Richmond"
1"Park"
2"London"
3"Grove"
4"Fae"
5"Veil"
6"Cardiff"
globalScore0.942
windowScore1
98.98% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences49
glossingSentenceCount1
matches
0"sounded like rustling leaves"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1541
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences58
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs18
mean85.61
std52.32
cv0.611
sampleLengths
0157
183
283
352
478
5168
643
7117
823
942
1079
11153
12147
1320
14106
1525
16156
179
98.25% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences50
matches
0"were gone"
98.48% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs197
matches
0"was listening"
1"was standing"
2"was burning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences58
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1010
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.023762376237623763
lyAdverbCount7
lyAdverbRatio0.006930693069306931
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences58
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences58
mean26.57
std12.98
cv0.488
sampleLengths
036
116
239
329
437
520
634
76
823
928
1028
1127
1238
1314
1428
1527
1623
1710
1829
1923
2035
2119
2236
2316
2443
2530
2637
2732
2818
2923
3014
3128
3279
332
3436
3547
3668
3712
3822
3932
408
4132
4221
4320
4420
4513
4629
4718
4821
4925
54.60% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.43103448275862066
totalSentences58
uniqueOpeners25
68.03% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences49
matches
0"Then it was 24-year-old her,"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount13
totalSentences49
matches
0"She righted herself, brushing damp"
1"She’d walked Richmond Park a"
2"She could not lie, bound"
3"They moved deeper into the"
4"It was mid-November in London,"
5"She blinked at the conflicting"
6"She pressed a hand to"
7"She’d thought it was a"
8"She’d run to Silas, the"
9"She stepped past Isolde into"
10"It was ten-year-old her, climbing"
11"She stumbled back, gasping, and"
12"It was burning now, so"
ratio0.265
31.43% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount42
totalSentences49
matches
0"The scuffed black rubber heel"
1"The small crescent scar there"
2"She righted herself, brushing damp"
3"She’d walked Richmond Park a"
4"Isolde waited ten paces ahead,"
5"Rory stared at the ground"
6"The half-Fae seer moved as"
7"Nyx’s voice wound through the"
8"The shade stood a head"
9"Rory brushed a strand of"
10"Isolde turned, her pale lavender"
11"She could not lie, bound"
12"They moved deeper into the"
13"Wildflowers bloomed in every direction,"
14"It was mid-November in London,"
15"The air smelled of jasmine"
16"Bees buzzed around the flowers,"
17"She blinked at the conflicting"
18"Rory stuffed her phone back"
19"The Fae-forged blade was always"
ratio0.857
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences49
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount13
matches
0"She righted herself, brushing damp crumbs of leaf mould from the knees of her faded cargo pants, and glanced back at the gnarled oak standing stones that marked…"
1"Isolde waited ten paces ahead, her waist-length silver hair catching the odd golden light that filtered through the Grove’s canopy."
2"Rory stared at the ground between them, at the thick soft moss that held the deep print of her own boot soles, and the empty space where Isolde’s bare feet pres…"
3"The half-Fae seer moved as if she weighed nothing at all, as if the earth itself refused to mar its surface for her."
4"Wildflowers bloomed in every direction, bluebells tangled with poppies, daffodils twisted around nightshade, every species that should bloom in a separate seaso…"
5"The Fae-forged blade was always cold, even through the fabric of her jacket, and it hummed faintly when she touched it, a low thrumming that matched the pulse o…"
6"The seer’s head tilted, as if she was listening to something only she could hear, and when she spoke her riddles were gone, her voice sharp and raw."
7"Rory had heard Nyx mutter about it, the shimmering barrier that separated Earth from the other realms, that weakened every winter solstice, that frayed at the e…"
8"She’d thought it was a fairy story, until she’d found her abusive ex Evan in her flat’s hallway three weeks earlier, the man who had tracked her from Cardiff, h…"
9"She’d run to Silas, the bartender who owned the building she lived above, and he’d sent her to Nyx, and Nyx had sent her to Isolde, and now she was standing in …"
10"Purple fireflies weaved patterns across the air, constellations that shifted and danced, brighter than any star she’d ever seen in smog-choked London."
11"The fireflies scattered, vanishing into the trees, and Isolde drew her own blade, a longer version of Rory’s moonsilver dagger, her voice ringing out clear."
12"The ground split open ten feet in front of them, a jagged crack that spilled warm amber light into the clearing, the sky of Dymas bleeding through the Veil’s te…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
87.3741%