Run: 2026-03-11-01KKFFZYFZ7QWQNRY6BCN7WN2X

Run Details

Duration:
19.0s
Cost:
$0.000000
Provider:
Stealth

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 stone passage compressed around them as Aurora squeezed through the final gap, the rough walls pressing against her shoulders. She emerged not into a forest, but into a memory of one. The air tasted of honey and damp moss, but carried a metallic tang underneath, like ozone after a lightning strike. "Keep close," Isolde whispered, her silver hair catching light that had no visible source. She didn't walk so much as glide across the moss, leaving no trace. Aurora’s boots sank into ground that felt like springy velvet rather than solid earth. The Heartstone Pendant warmed against her sternum, a faint, living pulse against her skin. She unclenched her fist from around the Fae blade's handle—the moonsilver was perpetually cold, a soothing counterpoint to the pendant's heat. Nyx flowed beside her, their shadow-form condensing and dissipating with each step, as if the very air here resisted holding a shape. "The silence here," their voice was the whisper of wind through a cracked window, "has teeth." He was right. The usual London hum—the distant wail of sirens, the thrum of traffic, the city’s endless mechanical breath—was utterly gone. In its place was a profound, expectant quiet. Aurora heard her own heartbeat, the rustle of her nylon jacket, the soft scuff of her trainers on the strange moss. Ahead, Isolde paused where the path widened into a clearing. She didn't turn. "Breathe through your mouth. The pollen of these flowers has a tendency to… rearrange the thoughts of the unprepared." Aurora followed her gaze. The wildflowers were a riot of impossible colour, blooming in defiant profusion. Petals of deep violet bled into stripes of electric blue, stems twisted in helical patterns, and some blooms seemed to pulse with a slow, bioluminescent glow. They weren't merely colourful; they were vivid in a way that hurt the eyes, a saturation that felt unnatural. She took a tentative breath through her mouth, tasting only the sweetness. The unease settled deeper in her gut. They were walking through a postcard from a fever dream. "The standing stones," Nyx murmured, their form coalescing slightly to point a finger of solid shadow. To their left, half-swallowed by climbing vines thick as a man’s wrist, stood one of the ancient oaks. It wasn’t merely old; it was a cathedral of wood. Its bark was a mosaic of silver and grey, peeling in long strips that curled like parchment. Carved into its surface were not runes Aurora recognised, but spiralling patterns that seemed to move in her peripheral vision, sinking back into stillness when she looked directly. The tree leaned, not with the weary droop of age, but with the intent of a guardian watching a gate. "The boundary," Isolde confirmed, finally turning. Her pale lavender eyes scanned the clearing, lingering on every shifting shadow and trembling leaf. "This tree is one of seven. Walk between them, and you remain on Earth. Touch one, and you begin to fall through the cracks." "What's through the cracks?" Aurora asked, her voice sounding too loud. Isolde's expression was unreadable. "More questions. Some of them even have answers." They moved deeper into the grove. The light, sourceless and amber, seemed to thicken as they walked. Time itself felt different here, like wading through syrup. Aurora glanced at her watch—a cheap digital thing—and the seconds ticked by with stubborn normality, but her internal clock screamed that they’d been walking for an hour. Outside this place, minutes might have passed. Or days. The dissonance was nauseating. A sound reached her, a soft, rhythmic *shush*. Water. She pushed through a curtain of broad, silvery leaves that felt like cool silk against her face, and stopped. A stream cut through the grove. It wasn’t water. It was liquid starlight, flowing with a faint, internal radiance, eddying around smooth, dark stones. The air above it shimmered with motes of golden dust that danced in lazy spirals before dissolving. "Hel-bound souls from Dymas would weep for this," Nyx stated, their voice tinged with something akin to fascination. "In the realms of Gluttony, they hunt for ingredients of such purity. A single drop would command a fortune in Belphegor's courts." Aurora knelt, careful not to touch the luminescent flow. The reflection staring back was not quite her own. Her blue eyes seemed too bright, her black hair held strands of midnight blue, and the small crescent scar on her left wrist glowed with a faint, pearlescent light. She recoiled, her hand going to the Heartstone. Its warmth pulsed in agreement. "A mirror of potential," Isolde said, appearing silently beside her. "The Fae realms show you what you might become. Or what you might lose." "Charming." Aurora stood, brushing imaginary dust from her knees. "So, we're looking for a rift point. A tear in the Veil. How do we find it? Follow the stream?" "Rift points are not lost things to be found," Isolde chided, though without malice. "They are wounds to be recognised. They bleed light, or shadow, or sound. They make the air hum wrong." She tilted her head, a bird-like gesture. "This grove is a patch over a thousand old wounds. The one we seek is fresh." They followed the stream's course. The grove grew denser, the trees closer together, their canopy forming a living roof that blocked any hypothetical sky. The silence deepened, now punctuated by the stream's soft glow and the occasional, melodic *ping* of a droplet striking a stone, each sound hanging in the air like a bell note. It was Aurora who felt it first. A vibration, not in the ground, but in her bones. The Heartstone’s pulse quickened, matching a dissonant hum that seemed to resonate from the very air. The Fae blade in her hand grew colder, its faint luminescence brightening. "There," she breathed, pointing. Ahead, between two twisted roots that arched like the legs of some colossal beast, the air was wrong. It rippled, not with heat, but with a slow, sickly distortion. Colours bled at the edges of her vision. The melodic *pings* of the stream warped, stretched into low, guttural moans. A smell seeped through—the acrid scent of burnt sugar and coppery, old blood. "A weeping," Nyx said, their form now a tight, condensed knot of shadow. "And it stinks of Hel." Isolde’s face was a mask of grim focus. "Prince Belphegor’s fingerprints. A crude tear. Opened from the other side, then patched clumsily from this one." Aurora took a step forward, the pendant now burning hot against her chest. "How do we close it?" "We don't," Isolde said, her voice sharp. "We look through it. The information is behind the wound." "A dangerous game, Seer," Nyx warned. "All worthwhile games are." Isolde began to move towards the distortion, her form becoming less solid, as if she were preparing to step sideways out of reality itself. "Aurora, with me. Nyx, guard the seam. If anything tries to come through, you delay it." "Delightful," Nyx hissed, their shadow-form spreading thin, merging with the darkness beneath the roots, becoming one with the grove's shadows. Aurora drew the Fae blade. The moonsilver glowed with a soft, determined light, pushing back the sickly amber of the grove. She fell in behind Isolde, the Seer’s lack of footprints a constant, eerie reminder of the strangeness of their guide. The distortion grew. The humming became a physical pressure against her temples. The air grew thick, soupy. She could see shapes moving within the rippling—a suggestion of vast, banquet-hall ceilings, the glint of silver platters, a hint of amber sky beyond stained glass. The world of Dymas, of endless feasts and damnation by excess, pressed against the thin barrier. Isolde stopped, her hand outstretched, fingers hovering inches from the tear. The light from the Fae blade fell upon her face, etching deep shadows into her ageless features. She turned her head just slightly, her voice barely a whisper, yet clear as a chime over the dissonance. "Prepare yourself, Rory. What we see may not wish to be seen." Aurora braced her feet on the velvet moss, the cold blade in her hand and the hot stone on her chest her only anchors. She nodded, her throat tight. Isolde’s fingers dipped into the distortion. The world screamed.
created_at"2026-03-11T22:24:03.616Z" 3/11/2026, 10:24:03 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency559
moderation_latency(null)
generation_time18581
tokens_prompt5338
tokens_completion2613
native_tokens_prompt4947
native_tokens_completion2280
native_tokens_completion_images(null)
native_tokens_reasoning477
native_tokens_cached14
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-1773267843-dqPZn1bke7DUWexXUDRx"
upstream_id"gen-1773267843-dqPZn1bke7DUWexXUDRx"
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
totalTags15
adverbTagCount0
adverbTags(empty)
dialogueSentences29
tagDensity0.517
leniency1
rawRatio0
effectiveRatio0
81.86% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1378
totalAiIsmAdverbs5
found
0
adverb"very"
count2
1
adverb"utterly"
count1
2
adverb"slightly"
count2
highlights
0"very"
1"utterly"
2"slightly"
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)
2.03% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1378
totalAiIsms27
found
0
word"velvet"
count2
1
word"pulse"
count3
2
word"silence"
count2
3
word"whisper"
count2
4
word"mechanical"
count1
5
word"profound"
count1
6
word"electric"
count1
7
word"mosaic"
count1
8
word"scanned"
count1
9
word"unreadable"
count1
10
word"rhythmic"
count1
11
word"silk"
count1
12
word"shimmered"
count1
13
word"tinged"
count1
14
word"warmth"
count1
15
word"pulsed"
count1
16
word"potential"
count1
17
word"quickened"
count1
18
word"determined"
count1
19
word"reminder"
count1
20
word"glint"
count1
21
word"etching"
count1
highlights
0"velvet"
1"pulse"
2"silence"
3"whisper"
4"mechanical"
5"profound"
6"electric"
7"mosaic"
8"scanned"
9"unreadable"
10"rhythmic"
11"silk"
12"shimmered"
13"tinged"
14"warmth"
15"pulsed"
16"potential"
17"quickened"
18"determined"
19"reminder"
20"glint"
21"etching"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched her fist"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences92
matches(empty)
34.16% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount6
narrationSentences92
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences105
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1371
ratio0.002
matches
0"shush"
1"ping"
2"pings"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1112
uniqueNames10
maxNameDensity1.17
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Isolde"
discoveredNames
Aurora13
Heartstone3
Pendant1
Fae4
London1
Isolde12
Ahead2
Nyx6
Seer1
Dymas1
persons
0"Aurora"
1"Isolde"
2"Nyx"
3"Seer"
places
0"Heartstone"
1"Fae"
2"London"
globalScore0.915
windowScore0.833
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount6
matches
0"felt like springy velvet rather than so"
1"patterns that seemed to move in her peripheral vision, sinking back into stillness when she looked directly"
2"felt like cool silk against her face, a"
3"something akin to fascination"
4"not quite her own"
5"hum that seemed to resonate from the very air"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords2.918
wordCount1371
matches
0"not into a forest, but into a memory of one"
1"not with the weary droop of age, but with the intent of a guardian watching a gate"
2"not in the ground, but in her bones"
3"not with heat, but with a slow, sickly distortion"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences105
matches
0"screamed that they’d"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs39
mean35.15
std20.43
cv0.581
sampleLengths
052
127
249
338
451
532
661
729
816
993
1045
1111
1212
1366
1428
1541
1640
1760
1824
1929
2056
2155
2245
234
2462
2518
2625
2718
2817
296
3044
3120
3241
3359
3447
3512
3629
376
383
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences92
matches(empty)
89.50% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs181
matches
0"were walking"
1"was nauseating"
2"were preparing"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount7
semicolonCount2
flaggedSentences7
totalSentences105
ratio0.067
matches
0"She unclenched her fist from around the Fae blade's handle—the moonsilver was perpetually cold, a soothing counterpoint to the pendant's heat."
1"The usual London hum—the distant wail of sirens, the thrum of traffic, the city’s endless mechanical breath—was utterly gone."
2"They weren't merely colourful; they were vivid in a way that hurt the eyes, a saturation that felt unnatural."
3"It wasn’t merely old; it was a cathedral of wood."
4"Aurora glanced at her watch—a cheap digital thing—and the seconds ticked by with stubborn normality, but her internal clock screamed that they’d been walking for an hour."
5"A smell seeped through—the acrid scent of burnt sugar and coppery, old blood."
6"She could see shapes moving within the rippling—a suggestion of vast, banquet-hall ceilings, the glint of silver platters, a hint of amber sky beyond stained glass."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1123
adjectiveStacks0
stackExamples(empty)
adverbCount32
adverbRatio0.028495102404274265
lyAdverbCount14
lyAdverbRatio0.012466607301869992
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences105
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences105
mean13.06
std7.05
cv0.54
sampleLengths
020
112
220
314
413
514
614
721
822
916
103
1119
128
1321
1410
153
1619
174
1812
1926
2019
2112
227
2310
2416
2518
2610
2717
2828
2920
306
3115
3224
3311
344
358
366
3711
389
3927
407
412
424
438
441
4519
466
473
4815
4917
52.70% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3619047619047619
totalSentences105
uniqueOpeners38
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences89
matches(empty)
ratio0
94.16% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences89
matches
0"She emerged not into a"
1"She didn't walk so much"
2"She unclenched her fist from"
3"their voice was the whisper"
4"He was right."
5"She didn't turn."
6"They weren't merely colourful; they"
7"She took a tentative breath"
8"They were walking through a"
9"It wasn’t merely old; it"
10"Its bark was a mosaic"
11"Her pale lavender eyes scanned"
12"They moved deeper into the"
13"She pushed through a curtain"
14"It wasn’t water."
15"It was liquid starlight, flowing"
16"Her blue eyes seemed too"
17"She recoiled, her hand going"
18"Its warmth pulsed in agreement."
19"She tilted her head, a"
ratio0.315
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount82
totalSentences89
matches
0"The stone passage compressed around"
1"She emerged not into a"
2"The air tasted of honey"
3"Isolde whispered, her silver hair"
4"She didn't walk so much"
5"Aurora’s boots sank into ground"
6"The Heartstone Pendant warmed against"
7"She unclenched her fist from"
8"Nyx flowed beside her, their"
9"their voice was the whisper"
10"He was right."
11"The usual London hum—the distant"
12"Aurora heard her own heartbeat,"
13"She didn't turn."
14"Aurora followed her gaze."
15"The wildflowers were a riot"
16"Petals of deep violet bled"
17"They weren't merely colourful; they"
18"She took a tentative breath"
19"The unease settled deeper in"
ratio0.921
56.18% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences89
matches
0"To their left, half-swallowed by"
ratio0.011
34.16% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount7
matches
0"Nyx flowed beside her, their shadow-form condensing and dissipating with each step, as if the very air here resisted holding a shape."
1"They weren't merely colourful; they were vivid in a way that hurt the eyes, a saturation that felt unnatural."
2"Carved into its surface were not runes Aurora recognised, but spiralling patterns that seemed to move in her peripheral vision, sinking back into stillness when…"
3"The air above it shimmered with motes of golden dust that danced in lazy spirals before dissolving."
4"The grove grew denser, the trees closer together, their canopy forming a living roof that blocked any hypothetical sky."
5"The Heartstone’s pulse quickened, matching a dissonant hum that seemed to resonate from the very air."
6"Ahead, between two twisted roots that arched like the legs of some colossal beast, the air was wrong."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount3
matches
0"Isolde whispered, her silver hair catching light that had no visible source"
1"Aurora asked, her voice sounding too loud"
2"Isolde said, her voice sharp"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount7
fancyTags
0"Isolde whispered (whisper)"
1"Nyx murmured (murmur)"
2"Isolde confirmed (confirm)"
3"Nyx stated (state)"
4"she breathed (breathe)"
5"Nyx warned (warn)"
6"Nyx hissed (hiss)"
dialogueSentences29
tagDensity0.379
leniency0.759
rawRatio0.636
effectiveRatio0.483
65.1028%