Run: 2026-03-11-01KKFFWC6Y8SJ1WN0YQ99B34C7

Run Details

Duration:
32.2s
Cost:
$0.000000
Provider:
Stealth

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The bell above the door of The Raven’s Nest chimed a thin, metallic note, swallowed almost instantly by the low murmur of conversation and the clink of glasses. Rory Carter stood just inside the threshold, her eyes adjusting to the amber gloom. The familiar smell of aged wood, stale beer, and Silas’s particular brand of cherry pipe tobacco hung in the air like a ghost. She hadn’t breathed this air in four years. She’d come for the quiet, for the anonymity. Her day had been a kaleidoscope of fluorescent lights, rushed footsteps, and the sharp, antiseptic smell of the clinic where she’d delivered papers to the loading dock. The Golden Empress’s kitchen, with its chaos of steam and shouted orders in Cantonese, felt a universe away. So did the pre-law lectures at Cardiff that felt like another life. Here, in this dim cave of maps and monochrome faces, she could just be a shadow with a pint. She chose a stool at the far end of the bar, slipping her delivery bag onto the worn brass rail. Her jacket was still damp from the London drizzle. She didn’t signal for service, just waited, her bright blue eyes tracing the familiar geography of the room: the faint water stain on the ceiling in the shape of a gnarled tree, the crack in the second row of books on the wall behind the bar, the way the green neon sign outside painted a sickly, flickering light across the polished floor. “Don’t often see you in at this hour.” The voice was low, gravelled, but it struck her like a physical blow. Rory’s spine went rigid. She turned her head slowly. Silas Blackwood emerged from the shadows of the back hallway, moving with that familiar, careful limp. His grey-streaked auburn hair was as she remembered, as was the neat beard that framed his mouth. He was polishing a glass with a cloth, his silver signet ring catching the neon glow. His hazel eyes, however, were not searching for a stranger. They were fixed on her with a penetrating, unnerving clarity. “Silas,” Rory breathed, the name feeling foreign and heavy on her tongue. She hadn’t meant to come here. Her flat was above, of course, but she’d always thought of this as his space, his world. She’d taken the back stairs down, intending to slip through Soho, not into the heart of it. He set the glass down, the cloth folding in on itself. “Aurora.” Not Rory. Not the nickname that belonged to Eva and the ghost of Cardiff. He used her full name, the one on the documents she signed for Yu-Fei, the one that felt like a costume. “It’s been a while.” “You could say that.” She gestured vaguely at the empty stool beside her. “I was just passing through.” “Passing through Soho? In the middle of the day, looking like you’ve just wrestled a parcel into a third-floor postroom?” He didn’t sit. He rested one hand on the bar, his thumb absently tracing the grain. “You’re a delivery girl now. Yu-Fei mentioned it once. Said she had a bright, reliable new driver with an unusual vocabulary.” The comment was a probe, not a barb. Rory felt heat creep up her neck. “It’s honest work. Keeps the rent paid.” “It always does.” His gaze didn’t waver. It was a look she remembered from stories he’d once told, tales of cold Prague nights and careful conversations. It was an inventory. He was taking stock of her: the straight, shoulder-length black hair tucked behind her ears, the practical jacket, the crescent-shaped scar visible on her left wrist as she gripped the edge of the bar. “You look different.” “You look the same,” she countered, and it was true. Time had etched lines around his eyes and deepened the silver in his hair, but the essence of the man—the stillness, the quiet authority—was unchanged. He was an anchor in a world that had spun away from her. “That’s a polite way of saying I’m old,” he said, but there was no smile. He finally moved, pulling a pint glass from under the bar. He didn’t ask what she wanted. He simply filled it with a dark, malty bitter that he knew she favoured years ago. He set it before her, and the gesture was so painfully familiar it threatened to crack the careful composure she’d built. “On the house. For old times.” Rory looked at the amber liquid, the creamy head. Old times. The phrase was a minefield. She took a sip. It was cool, bitter, and exactly right. The taste transported her to a different version of this bar, a version where she was just a friend’s friend, visiting from Cardiff, full of awkward questions and a future that was a clean, academic slate. Silas had been a charming, mysterious figure then, someone who spoke of the world in terms of borders and whispers. He’d never answered her real questions, of course. Just smiled that slight, guarded smile and changed the subject. “What brings you to London?” she asked, turning the conversation toward safer, more transactional ground. “I thought you were done with this.” “I’m always done with it,” he said. “Doesn’t mean it’s done with me.” He began wiping down the bar, his movements economical. “Yu-Fei’s been good to you.” “She’s been fair.” Rory stared into her glass. “It’s a job.” “Pre-law, wasn’t it? At Cardiff?” The question was gentle, but it landed with the weight of an accusation. “I left.” She said it flatly. Let the silence fill with its own implications. “Eva’s still there, I gather. Teaching at the secondary school.” Rory’s fingers tightened around the glass. So he kept tabs. Of course he did. The Spymaster. “Eva has her life. I have mine.” “And yours is… delivering for a restaurant and living in the flat above a bar in Soho.” He didn’t say it as a criticism, but the fact that he saw her life so clearly, without having to ask, was unnerving. It was the truth laid bare, and in its plainness, it felt like an indictment. “Some of us aren’t retired spymasters, Silas. We have to make do.” The snap in her own voice surprised her. She was being defensive. She hated that she was being defensive. He stopped wiping. He turned to face her fully, leaning back against the cabinet of whiskey bottles. The neon sign outside flickered, throwing his features into stark relief, then back into shadow. “You’re angry,” he observed. “I’m not angry.” “You’re angry at something, or someone. And you’re standing in my bar, which means it’s likely connected to me or to what you think I represent.” He folded the cloth into a perfect square. “What happened in Cardiff, Rory? Why did you really leave?” The question was a door, and behind it she knew was a corridor that led back to Evan’s tight grip, her father’s disappointment, the closing walls of a life that wasn’t hers. She wasn’t going there. Not now, not ever, and certainly not with him. “I needed a change.” “From a university education? From friends? From a city you loved?” He took a step closer. The slight limp was more pronounced as he shifted his weight. “Or was it from someone? A boy named Evan, perhaps?” The air went out of her lungs. How could he know? She’d told no one in London. Eva knew, but Eva wouldn’t. Would she? The thought was a cold spike. She had to look away, at the maps on the wall—their faded colours and obsolete borders a metaphor for everything that had gone wrong. “How do you know about him?” she whispered. “It’s my business to know things, Aurora. Especially when it concerns people in this orbit. People connected to this place.” He tapped his ring against the bottle. A quiet, rhythmic sound. A clock ticking down. “A young woman from a good family, fleeing her studies to come to London, taking menial work, hiding in a flat above my establishment… it raises questions. Questions I feel obligated to answer for my own peace of mind.” “You made it your business.” “I had to.” He said it with a finality that brooked no argument. “Now, are you in trouble? Is that what this is about? Is Evan looking for you?” “No.” The word was too sharp. She softened it, tried to reclaim the ground she was losing. “It’s nothing like that. It’s over. I left. That’s all.” “People like that don’t just let go.” He reached into his waistcoat pocket and produced a silver case. He offered her a cigarette. When she shook her head, he placed one between his own lips and lit it with a match from a book on the bar. The sulfur flare was a brief, bright star. He exhaled a plume of smoke. “They consider it a wound to their pride. And pride is a dangerous thing in a man with nothing else to lose.” Rory’s own pride was a raw nerve. “You think I can’t handle myself? That I ran all the way to you because I need protection?” The accusation hung there. It was the unspoken subtext of this entire encounter. Silas gave a short, humourless laugh. The smoke curled around his head. “No. I think you’re too smart for your own good, and that you’ve learned to be clever and quick. I see it in the way you’ve avoided your parents’ calls, the way you’ve reinvented yourself without a safety net.” He leaned in, his voice dropping. “But cleverness isn’t strength. And the things you’re running from have a way of finding you in the dark, when your guard is down.” He’d nailed it. The constant, low-grade fear she’d buried under the rhythm of deliveries and the solitude of her flat. The way every knock at the door made her freeze, every unknown number on her phone made her stomach clench. She hadn’t told him any of this. He’d read it in her, the way she’d once watched him read a room for threats. “What do you want from me?” she asked, her voice hollow. “I don’t want anything from you.” He took a long drag of his cigarette, his eyes never leaving hers. “I want to know what you want. And why, after all this time, you’re finally standing in my bar again. Don’t tell me you were passing through. The back stairs are for staff and for me. You came down them deliberately. You chose to come in here.” The truth was a bitter pill. She’d craved the quiet, yes. But she’d also craved this. The weight of his presence. The feeling that, in this room, the world’s chaos was held at bay by his will alone. She’d come seeking the phantom of the mentor she’d once imagined him to be. Her gaze fell to her wrist, to the crescent scar from the fall she’d taken in a Cardiff park, a fall Evan had watched from a bench without moving to help. She’d made it up then, the story. Said she’d slipped. “I don’t know why I’m here,” she lied. Silas Ashed his cigarette into a glass tray. He reached out, not to her, but to her delivery bag on the rail. His fingers, bearing that heavy silver ring, brushed the canvas. He didn’t unzip it. He just rested his hand there, a gesture that was both proprietary and protective. “Your father called me last week,” he said, his tone conversational again, as if he hadn’t just dismantled her. “Concerned. He said you’d become a ghost. He mentioned an Evan, and some unpleasantness.” Rory’s blood turned to ice. “He had no right.” “He’s your father. He loves you. He was looking for a piece of you that still made sense to him, and he thought I might know where it was.” Silas withdrew his hand. He picked up her glass, which was still more than half full, and carried it behind the bar. He poured it down the sink. “You can’t run from your history, Rory. It travels with you. In your gait, in your voice, in the way you scan a room for exits the moment you walk in.” He set the empty glass upside down on the bar mat. The message was clear. The conversation was over. But the real thing, the unspoken thing that had drawn her into this room, was still coiled in the silence between them. “What should I do?” The question slipped out before she could stop it. It was the plea of the 21-year-old she once was, the girl who’d looked at this 58-year-old man and seen a universe of answers. Silas leaned forward, his forearms on the polished wood, his face inches from hers. The smell of cherry tobacco and old leather was overpowering. His hazel eyes were dark, unreadable pools. “You stop pretending you’re just a delivery girl,” he said, his voice barely a murmur. “And you decide what you’re willing to fight for. Because you have something he wants, don’t you? Not just your pride.” He knew. Somehow, impossibly, he knew about the evidence, the digital files on a hardened drive she kept hidden behind a loose skirting board in her flat. The files Evan didn’t know she’d copied, the ones that could ruin him and his circle. The reason she’d fled. The reason she was truly afraid. Rory’s breath hitched. The neon sign buzzed, its green light pulsing like a living heartbeat against the window. She opened her mouth, but no sound came out. Silas straightened up, turning away to take a fresh glass from the shelf. He held it up to the light, inspecting it for imperfections. “Go home, Aurora,” he said, not looking back at her. “Lock your door. And tomorrow, come back when we’re closed. We have a great deal to discuss.” He didn’t say it as a suggestion. It was a command. The chapter of her quiet, hidden life in London was ending. Something new, something dangerous and unresolved, had just begun in the flickering green light of The Raven’s Nest.
created_at"2026-03-11T22:22:06.588Z" 3/11/2026, 10:22:06 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency554
moderation_latency(null)
generation_time31864
tokens_prompt4618
tokens_completion3870
native_tokens_prompt4214
native_tokens_completion3310
native_tokens_completion_images(null)
native_tokens_reasoning345
native_tokens_cached6
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
router(null)
provider_responses(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773267726-mAP0qBylXn99nGM9fbMu"
upstream_id"gen-1773267726-mAP0qBylXn99nGM9fbMu"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Stealth"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags31
adverbTagCount1
adverbTags
0"She gestured vaguely [vaguely]"
dialogueSentences61
tagDensity0.508
leniency1
rawRatio0.032
effectiveRatio0.032
91.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2357
totalAiIsmAdverbs4
found
0
adverb"slowly"
count1
1
adverb"really"
count1
2
adverb"deliberately"
count1
3
adverb"truly"
count1
highlights
0"slowly"
1"really"
2"deliberately"
3"truly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
49.09% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2357
totalAiIsms24
found
0
word"gloom"
count1
1
word"familiar"
count4
2
word"kaleidoscope"
count1
3
word"footsteps"
count1
4
word"tracing"
count2
5
word"etched"
count1
6
word"weight"
count3
7
word"silence"
count2
8
word"flickered"
count1
9
word"stark"
count1
10
word"perfect"
count1
11
word"rhythmic"
count1
12
word"unspoken"
count2
13
word"encounter"
count1
14
word"stomach"
count1
15
word"unreadable"
count1
highlights
0"gloom"
1"familiar"
2"kaleidoscope"
3"footsteps"
4"tracing"
5"etched"
6"weight"
7"silence"
8"flickered"
9"stark"
10"perfect"
11"rhythmic"
12"unspoken"
13"encounter"
14"stomach"
15"unreadable"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences157
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences157
filterMatches
0"know"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences185
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen62
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2354
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions31
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions48
wordCount1694
uniqueNames20
maxNameDensity0.65
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Silas"
discoveredNames
Raven2
Nest2
Carter1
Silas8
Golden1
Empress1
Cantonese1
Cardiff4
London3
Blackwood1
Soho1
Rory11
Eva3
Yu-Fei1
Prague1
Time1
Let1
Spymaster1
Evan3
Ashed1
persons
0"Raven"
1"Nest"
2"Carter"
3"Silas"
4"Empress"
5"Blackwood"
6"Rory"
7"Eva"
8"Time"
9"Evan"
10"Ashed"
places
0"Cardiff"
1"London"
2"Soho"
3"Prague"
globalScore1
windowScore1
83.04% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences112
glossingSentenceCount3
matches
0"felt like another life"
1"felt like a costume"
2"felt like an indictment"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.425
wordCount2354
matches
0"not to her, but to her delivery bag on the rail"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences185
matches
0"hated that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs59
mean39.9
std25.35
cv0.635
sampleLengths
073
184
291
38
422
569
652
751
818
957
1022
1167
1248
1375
14101
1522
1627
1711
1818
1914
2010
2123
2255
2331
2432
254
263
2744
2845
294
3037
3154
328
3374
345
3529
3627
3783
3838
3981
4063
4111
4266
4352
4441
458
4650
4733
489
4988
98.56% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences157
matches
0"were fixed"
1"was unchanged"
2"was held"
3.92% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount8
totalVerbs272
matches
0"was polishing"
1"were not searching"
2"was taking"
3"was being"
4"was being"
5"wasn’t going"
6"was losing"
7"was ending"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences2
totalSentences185
ratio0.011
matches
0"Time had etched lines around his eyes and deepened the silver in his hair, but the essence of the man—the stillness, the quiet authority—was unchanged."
1"She had to look away, at the maps on the wall—their faded colours and obsolete borders a metaphor for everything that had gone wrong."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1706
adjectiveStacks0
stackExamples(empty)
adverbCount68
adverbRatio0.03985932004689332
lyAdverbCount16
lyAdverbRatio0.009378663540445486
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences185
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences185
mean12.72
std9.51
cv0.748
sampleLengths
028
114
223
38
48
527
618
712
819
920
109
1162
128
1313
144
155
1616
1717
1816
1910
2010
2112
226
2317
2417
2511
263
2712
2821
294
3013
315
3223
3313
3421
358
367
377
387
3919
404
4134
423
4310
4425
4513
4615
4711
486
4916
37.57% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.2594594594594595
totalSentences185
uniqueOpeners48
67.57% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences148
matches
0"Just smiled that slight, guarded"
1"Of course he did."
2"Somehow, impossibly, he knew about"
ratio0.02
3.78% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount80
totalSentences148
matches
0"She hadn’t breathed this air"
1"She’d come for the quiet,"
2"Her day had been a"
3"She chose a stool at"
4"Her jacket was still damp"
5"She didn’t signal for service,"
6"She turned her head slowly."
7"His grey-streaked auburn hair was"
8"He was polishing a glass"
9"His hazel eyes, however, were"
10"They were fixed on her"
11"She hadn’t meant to come"
12"Her flat was above, of"
13"She’d taken the back stairs"
14"He set the glass down,"
15"He used her full name,"
16"She gestured vaguely at the"
17"He didn’t sit"
18"He rested one hand on"
19"His gaze didn’t waver"
ratio0.541
3.92% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences148
matches
0"The bell above the door"
1"Rory Carter stood just inside"
2"The familiar smell of aged"
3"She hadn’t breathed this air"
4"She’d come for the quiet,"
5"Her day had been a"
6"The Golden Empress’s kitchen, with"
7"Here, in this dim cave"
8"She chose a stool at"
9"Her jacket was still damp"
10"She didn’t signal for service,"
11"The voice was low, gravelled,"
12"Rory’s spine went rigid."
13"She turned her head slowly."
14"Silas Blackwood emerged from the"
15"His grey-streaked auburn hair was"
16"He was polishing a glass"
17"His hazel eyes, however, were"
18"They were fixed on her"
19"Rory breathed, the name feeling"
ratio0.912
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences148
matches(empty)
ratio0
60.89% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount7
matches
0"His grey-streaked auburn hair was as she remembered, as was the neat beard that framed his mouth."
1"The taste transported her to a different version of this bar, a version where she was just a friend’s friend, visiting from Cardiff, full of awkward questions a…"
2"The question was a door, and behind it she knew was a corridor that led back to Evan’s tight grip, her father’s disappointment, the closing walls of a life that…"
3"She had to look away, at the maps on the wall—their faded colours and obsolete borders a metaphor for everything that had gone wrong."
4"He just rested his hand there, a gesture that was both proprietary and protective."
5"It was the plea of the 21-year-old she once was, the girl who’d looked at this 58-year-old man and seen a universe of answers."
6"The files Evan didn’t know she’d copied, the ones that could ruin him and his circle."
28.23% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags31
uselessAdditionCount6
matches
0"Rory breathed, the name feeling foreign and heavy on her tongue"
1"He began, his movements economical"
2"He leaned in, his voice dropping"
3"she asked, her voice hollow"
4"he said, his voice barely a murmur"
5"he said, not looking back at her"
68.03% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount5
fancyTags
0"Rory breathed (breathe)"
1"He didn’t (do)"
2"he observed (observe)"
3"she whispered (whisper)"
4"she lied (lie)"
dialogueSentences61
tagDensity0.23
leniency0.459
rawRatio0.357
effectiveRatio0.164
76.5368%