Run: 2026-03-11-01KKFF49QNX6CA8TSH42XEGC4E

Run Details

Duration:
2m 6s
Cost:
$0.012235
Provider:
Seed

Model input

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

Model response

AI
My boot slams into loam that reeks of fermented honey and burnt sugar, and I stumble forward, palms scraping over bark that oozes thick, gold resin. The rift I stepped through fizzles shut behind me, leaving only the faint crackle of the torn Veil hanging in the warm air. The Heartstone around my neck throbs so hard it bruises my sternum, the deep crimson gem glowing like a smothered coal. Nyx flows through the space where the rift was a heartbeat later, their shadowy form solidifying into the 6’2” humanoid shape they favour when they want to be seen by mortals. Their violet eyes glow faintly in the amber light that drenches the landscape, no sun visible, just a permanent hazy warm glow that paints everything in burnt orange and gold. “Easy. The ground here binds what it senses as weak. Plant your weight, don’t hover.” Their voice is a whisper that carries on the thick air, like wind through a keyhole, the same as always. I push myself to my feet, brushing resin off the knees of my scuffed black jeans, and glance at the crescent scar on my left wrist, still pale even after all these years. It itches, a faint warning tingle I’ve learned not to ignore. I tug the cuff of my hoodie down over it, my hand brushing the hilt of the moonsilver dagger Isolde pressed into my palm before we crossed. The blade stays ice cold even through the leather sheath, just as the half-Fae seer had promised it would. I replay her words in my head, the riddles she’d spun as we stood between the ancient oak standing stones marking her grove’s boundary in Richmond Park. The Veil thins more with every day till solstice, she’d said, her silver waist-length hair trailing over wild bluebells that bloomed in her hidden space even in mid-November, what the hungry realm does not consume, it spits back. Only what carries the mark of your own blood will keep you. She’d left no footprints in the soil when she stepped back, her pale lavender eyes sharp, I cannot lie to you, Rory Carter. Your ex traded his soul to Belphegor for the power to hunt you across every realm. You either kill him in Dymas, or he will burn your London flat to the ground with you and everyone you love inside it. That is why we are here. That is why I left the safety of my home above Silas’ bar, why I stuffed the taser I kept in my delivery bag for Yu-Fei’s Golden Empress restaurant into my hoodie pocket, why I let Isolde tear a hole in the Veil that dropped us into the heart of Hel’s realm of gluttony. I pull my phone out of my pocket, thumbing the screen awake. Three missed calls from Eva, all timestamped four hours ago. It had felt like ten minutes to cross through the grove’s rift. The time distortion that plagued Isolde’s pocket realm had followed us into Hel, it seemed. I shove the phone back, my gaze sweeping over the landscape stretching out before us. Vineyards roll for miles, the vines twisted and dark, their leaves a deep glossy purple that glows when the amber light hits it. Clusters of grapes hang from every bough, each one the size of a plum, the same indigo glow seeping through their skin. Beyond the vineyards, orchards of trees bearing fruit I can’t name, some that look like apples but bleed golden juice when they fall, others that look like pomegranates but wriggle like they are alive. Further in the distance, spires rise, carved from white sugar and bleached bone, twisting up into the amber sky. The distant clink of cutlery and roars of laughter carry on the wind, faint but clear, the sound of a feast that never ends. “This is Dymas,” I say, my voice quieter than I mean it to be. The air is thick enough to chew, sweet with the scent of roasted cinnamon and spiced wine, undercut by a faint tang of copper that nags at the back of my throat. Nyx nods, their shadowy form rippling at the edges as they step beside me. The land here does not like them, I can tell. The grass cringes away from their boots, the vines pull back when they reach out to tap one. “Belphegor’s playground. He steals souls from Earth, contracts them to work his kitchens, tend his vineyards, feed the endless feasts. Most never leave. They get consumed by the realm, their essence baked into the next course, poured into the next bottle of wine.” I step forward, moving along a faint dirt path that cuts through the first row of vines. One of the grape clusters brushes my shoulder, and I reach up to pluck it, curious. It bursts in my palm, warm wine spilling over my fingers, and I lick it off without thinking. It tastes like starlight, like the first sip of hot chocolate on a snow day, like every good thing I have ever tasted, all wrapped into one. I freeze, the sweetness turning sour on my tongue a second later, when the vine let out a low, mournful whimper. The vines are singing. All along the row, I hear it, low harmonies, the sound of dozens of voices trapped in the wood, moaning and humming. I wipe my hand on my jeans, my stomach turning. “They’re alive. The souls are in the vines.” “Those that tried to run, that refused to work. Belphegor binds them to the land. They feed the grapes, their pain makes the wine sweet. That is the gluttony of this place. It consumes everything, even the people that refuse to participate.” Nyx’s voice is harder than I have ever heard it, a faint edge of anger there. I remember they were once a human sorcerer named Aldric, trapped between realms after a failed 17th century summoning, they know what it is like to be bound to a place you cannot escape. We walk for what feels like an hour, or maybe ten minutes, time here as slippery as it is in Isolde’s grove. The feast sounds grow louder, the laughter sharper, the screams I had been mistaking for cheers become impossible to ignore. The moonsilver dagger at my hip starts to glow, a faint pale blue light seeping through the leather sheath, the blade warming for the first time, a sign it has sensed a demon. My crescent scar burns, so bad I have to clench my fist to stop from scratching it open. Evan is close. We round the corner of an orchard, and the entire feast ground spreads out before us. Long wooden tables stretch for miles, loaded with whole roasted oxen, towers of honey bread, barrels of wine that flow nonstop into golden goblets. Hundreds of people gorge themselves, shovelling food into their mouths so fast their jaws split, blood running down their chins, but they do not stop. They cannot stop. Soul after soul, gorging until they collapse, and servants, the contracted chefs, drag their bodies away, to be butchered and served at the next sitting. It is a cycle, endless, the gluttony that fuels the realm. I scan the head of the main table, the largest table, at the foot of the sugar and bone palace. I spot him before he spots me. Evan. My ex. The man who had put his fist through my Cardiff flat wall, who had followed me to London, who had sold his soul to have the power to hunt me forever. He is changed. Horns curl from his forehead, his eyes are solid black, his hands are clawed, he sits on a throne carved from oak, a golden crown set with rubies on his head. He is not gorging, he is watching the feast, like he has earned his place in Belphegor’s court. Then he turns his head. His gaze locks on mine, across the hundreds of souls, across the miles of groaning tables. He grins, his teeth sharp as shards of glass, and he stands, his voice carrying over the roar of the feast, loud and clear, cutting through every other sound. “There you are, Rory. I’ve been waiting for you.”
created_at"2026-03-11T22:08:57.619Z" 3/11/2026, 10:08:57 PM
model"bytedance-seed/seed-2.0-lite-20260309"
app_id182717
external_user(null)
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cancelledfalse
latency955
moderation_latency(null)
generation_time126293
tokens_prompt5338
tokens_completion5694
native_tokens_prompt5322
native_tokens_completion5452
native_tokens_completion_images(null)
native_tokens_reasoning3676
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"
usage0.0122345
router(null)
provider_responses
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endpoint_id"bf1a3473-7a0a-46d3-aaa5-adb8f876a697"
id"021773266937733ceb2efb7fea58c55155fc9fb92515dcd591172"
is_byokfalse
latency955
model_permaslug"bytedance-seed/seed-2.0-lite-20260309"
provider_name"Seed"
status200
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api_type"completions"
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total_cost0.0122345
cache_discount(null)
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provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.75
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1380
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)
89.13% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1380
totalAiIsms3
found
0
word"weight"
count1
1
word"whisper"
count1
2
word"stomach"
count1
highlights
0"weight"
1"whisper"
2"stomach"
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
narrationSentences27
matches(empty)
37.04% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences27
filterMatches
0"hear"
hedgeMatches
0"starts to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences30
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen142
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1380
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions21
wordCount1108
uniqueNames15
maxNameDensity0.27
worstName"Belphegor"
maxWindowNameDensity1
worstWindowName"Veil"
discoveredNames
Veil2
Heartstone1
Richmond1
Park1
Rory1
Carter1
Belphegor3
Dymas1
London2
Eva1
Isolde2
Hel1
Nyx2
Earth1
Cardiff1
persons
0"Veil"
1"Rory"
2"Carter"
3"Eva"
4"Isolde"
5"Nyx"
places
0"Richmond"
1"Park"
2"Belphegor"
3"Dymas"
4"London"
5"Hel"
6"Earth"
7"Cardiff"
globalScore1
windowScore1
41.30% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences23
glossingSentenceCount1
matches
0"felt like ten minutes to cross through"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1380
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences30
matches(empty)
75.82% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs17
mean81.18
std33.72
cv0.415
sampleLengths
070
161
2125
3140
460
564
6122
746
885
999
1044
1192
1296
13104
14113
1550
169
79.27% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences27
matches
0"get consumed"
1"is changed"
2"are clawed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs186
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences30
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount196
adjectiveStacks0
stackExamples(empty)
adverbCount4
adverbRatio0.02040816326530612
lyAdverbCount1
lyAdverbRatio0.00510204081632653
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences30
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences30
mean46
std41.89
cv0.911
sampleLengths
026
123
221
361
41
59
6115
7140
860
964
10122
1146
1244
1318
143
1520
1699
1738
186
199
206
2110
227
2360
2496
25104
26113
2750
284
295
90.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.6
totalSentences30
uniqueOpeners18
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences27
matches
0"Then he turns his head."
ratio0.037
27.41% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount13
totalSentences27
matches
0"My boot slams into loam"
1"I replay her words in"
2"I pull my phone out"
3"I say, my voice quieter"
4"He steals souls from Earth,"
5"They get consumed by the"
6"I step forward, moving along"
7"They feed the grapes, their"
8"It consumes everything, even the"
9"We walk for what feels"
10"We round the corner of"
11"I scan the head of"
12"I’ve been waiting for"
ratio0.481
15.56% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount24
totalSentences27
matches
0"My boot slams into loam"
1"The rift I stepped through"
2"The Heartstone around my neck"
3"Nyx flows through the space"
4"The ground here binds what"
5"I replay her words in"
6"That is why we are"
7"I pull my phone out"
8"Vineyards roll for miles, the"
9"I say, my voice quieter"
10"Nyx nods, their shadowy form"
11"He steals souls from Earth,"
12"They get consumed by the"
13"I step forward, moving along"
14"The vines are singing. All"
15"The souls are in the"
16"Belphegor binds them to the"
17"They feed the grapes, their"
18"That is the gluttony of"
19"It consumes everything, even the"
ratio0.889
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences27
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences13
technicalSentenceCount7
matches
0"My boot slams into loam that reeks of fermented honey and burnt sugar, and I stumble forward, palms scraping over bark that oozes thick, gold resin."
1"I replay her words in my head, the riddles she’d spun as we stood between the ancient oak standing stones marking her grove’s boundary in Richmond Park. The Vei…"
2"I pull my phone out of my pocket, thumbing the screen awake. Three missed calls from Eva, all timestamped four hours ago. It had felt like ten minutes to cross …"
3"I step forward, moving along a faint dirt path that cuts through the first row of vines. One of the grape clusters brushes my shoulder, and I reach up to pluck …"
4"We round the corner of an orchard, and the entire feast ground spreads out before us. Long wooden tables stretch for miles, loaded with whole roasted oxen, towe…"
5"I scan the head of the main table, the largest table, at the foot of the sugar and bone palace. I spot him before he spots me. Evan. My ex. The man who had put …"
6"Then he turns his head. His gaze locks on mine, across the hundreds of souls, across the miles of groaning tables. He grins, his teeth sharp as shards of glass,…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount2
matches
0"Nyx flows, their shadowy form solidifying into the 6’2"
1"I say, my voice quieter than I mean it to be"
66.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"The vines are singing. All along the row (be sing)"
dialogueSentences12
tagDensity0.167
leniency0.333
rawRatio0.5
effectiveRatio0.167
77.4063%