Run: 2026-03-11-01KKFHE2FG376PD9CPXJ2AK2ZT

Run Details

Duration:
29.4s
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 neon sign outside The Raven’s Nest flickered, painting the wet pavement in intermittent strokes of emerald. Rory traced the condensation ring on the scarred oak bar with her finger, the cold glass of gin and tonic sweating against her palm. She’d just finished her last drop for Yu-Fei—a ten-portion special of Peking duck to a swanky Mayfair flat where a breathless woman in silk pyjamas had pressed a folded note into her hand instead of a tip. A name and a number. Silas had raised a single eyebrow when she’d shown him. “Another recruit for the cause?” he’d murmured, polishing a glass until it squealed. “Another weirdo,” she’d corrected, tucking the note into the pocket of her practical coat. “I think she thought I was a courier for something more illicit than dumplings.” “Maybe she saw something in your eyes.” He’d nodded toward the mirror behind the bottles, where her own reflection stared back—cool blue eyes, a little tired, but watchful. Always watching. Now, she watched the door. Soho’s Friday night crowd was a different animal, louder and more frayed at the edges. The scent of spilled beer and damp wool mingled with the faint, ghostly smell of cigar smoke that never quite left Silas’s walls. A group of suits laughed too loudly in a corner booth, their tie knots loosened, their voices rising and falling with the cadence of obligatory jokes. The bell above the door chimed, a dull, brassy note. She didn’t look up immediately. It was a reflex, that discipline. Assess the new arrival peripherally. The footsteps were confident, measured—not the stumble of the drunk, nor the shuffle of the lost tourist. A man in a tailored overcoat shook rain from his shoulders onto the mat. His hair was cut close on the sides, longer on top, the colour of dark honey now threaded with distinguished silver at the temples. He handed his coat to the rack with an air of belonging, though he hadn’t been here in years. He ordered a single malt, neat, from Silas. His voice was lower, smoother, polished by money and boardrooms. But the cadence, the slight lilt on the vowels—that was familiar. A memory scraped from the bottom of a forgotten drawer. Rory kept her eyes on her drink. The lime wedge bobbed. “The Macallan, please. And leave the bottle.” Silas placed the amber bottle on the bar without comment, his hazel eyes flicking once to Rory and back. A silent question. The man took his first sip, his gaze sweeping the room with the casual efficiency of someone used to scanning for threats or opportunities. His eyes passed over the suits, the couple arguing in whispers by the dartboard, the lone woman reading a paperback in a shadowy alcove. Then they stopped on Rory. He went very still. The glass halted halfway to his lips. She finally turned her head to meet his stare. Up close, the changes were stark. The boyish face she remembered had been planed by time into something sharper, more angular. A fine line scored the skin between his brows. He wore a dark cashmere jumper beneath his coat, and a watch that caught the light—subtle, not flashy, but radiating cost. He smelled of expensive cologne and cold night air, not the cheap Lynx Africa and damp gym kit of their adolescence. “Rory?” His voice was barely a whisper, a ghost of the old nickname. She gave a slow nod. “Leo.” Leo Carter set his glass down with a precise click. His knuckles were white where he gripped the edge of the bar. “My God. I thought… I heard you’d gone back to Cardiff. Or further.” “Rumours,” she said. Her own voice felt foreign in her mouth, too calm. “I’m here. Live upstairs, actually.” “Here? Above…?” He gestured vaguely at the low ceiling, the walls papered with old maps of London districts that no longer existed. “Silas owns the building.” She nodded toward the proprietor, who was now studiously wiping down a shelf of obscure bitters, his hearing apparently acute. “I rent the flat. It’s quiet enough.” Leo’s eyes, a warm brown she’d once known like her own reflection, roamed her face. “You look… different.” “So do you.” He flinched, almost imperceptibly. The tailored coat, the watch, the confident stance—it all screamed success. But the tension in his jaw, the way his gaze kept darting to the door as if expecting someone to burst in, told a different story. He was a man playing a part, wearing his life like a costume. “What do you do now?” she asked, turning back to her drink. Avoiding the weight of his look was easier. “I’m in finance. mergers, acquisitions. London-based, but I travel. A lot.” He poured another measure of whisky into his glass. “And you? Still the same Rory who could pick a lock with a paperclip and a hairpin?” “The pickpocketing is a hobby, not a profession.” A faint smile touched her lips, gone as quickly as it came. “I work for Yu-Fei Cheung. Deliver food. It pays the rent.” “The Golden Empress.” He said the name with recognition, not surprise. “Your mother mentioned you were working there. Ages ago.” The mention of her mother was a pebble dropped into a still pond. Ripples spread, cold and unsettling. “You’ve seen my mum?” “At a gallery opening in Cardiff. Two, maybe three years ago. She was with your father. She looked well.” He took a swallow of his drink. “She asked if I’d heard from you. I said no.” The unspoken truth hung between them. He hadn’t heard from her because she hadn’t wanted him to. Because of the last time they’d spoken, a screaming match in a car park behind the chip shop, raw and childish, full of accusations that had curdled into silence. “She worries,” Rory said, the words thin. She hated the implication that she was a source of that worry, a problem to be solved. “I’m sure she does.” Leo’s tone was soft, a concession. “You vanished, Rory. After Evan.” She felt the scar on her left wrist, beneath her sleeve, throb with phantom heat. A small crescent-shaped mark from a broken glass, a different kind of violence, a different kind of man. “It was necessary.” “Was it?” He leaned forward slightly, his voice dropping. The corporate polish cracked, revealing the old, earnest boy underneath. “You just left. Didn’t say goodbye. Didn’t tell anyone where you were going. Eva was frantic. Your parents were terrified. I was… left trying to explain it all.” “You were the one who should have known best!” The words escaped her, sharp and sudden. A couple at the end of the bar glanced over. She lowered her voice, leaning in until the scent of her gin mingled with his whisky. “You saw what he was like. The control, the fury. You told me to be patient. To try harder.” “I was sixteen!” His whisper was fierce, defensive. “What was I supposed to do? My dad said it was a rough patch, that all relationships have them. That you were too sensitive.” “Your dad was an idiot.” “Yeah,” Leo said, the anger draining out of him, leaving something hollow. “Yeah, he was.” The admission settled. Silas moved silently behind the bar, a shadow in his own domain. The green neon buzzed, a constant electric hum beneath the noise of the pub. Rory watched the ice melt in her glass, the clear liquid diluting the last of the gin. Time had passed. They had grown up in different directions, into different lives. He had taken his father’s lessons and built a castle of success and silence. She had run from hers and built a fortress of solitude and small, survivable truths. “You didn’t come looking,” she said finally, not an accusation, just a statement of fact. “I thought you wanted to be left alone.” He spread his hands on the bar, palms down. The watch gleamed. “I heard whispers. From people in our old crowd. That you were in trouble. That Evan was looking for you. What was I supposed to do, play the hero? He was twice my size. And you’d already gone to ground. You were good at that. Even then.” “Survival instinct.” She’d learned to sleep with one eye open. To note exits. To never share her real location. Silas’s flat above the bar was the first place in years that felt remotely safe, and that was partly because it was a place of transit, of strangers coming and going. No one stayed long enough to become a threat. “And what are you now?” He searched her face, not with the curiosity of an old friend, but with the diagnostic eye of a man who assessed risks and assets. “What is this life? Delivering noodles and living above a pub in Soho, surrounded by… whatever Silas is running here.” The question was a barb. She pulled her hand back from the glass. “What do you think he’s running?” Leo glanced at the old maps on the walls, at Silas’s calm, observant presence. “I don’t know. But it’s not just a bar, is it? There’s a room back there.” He nodded subtly toward the heavy bookshelf. “You can’t smell old books and stale beer in that order. It smells of secrets.” Rory said nothing. Her silence was its own answer. He leaned back, a new understanding dawning in his eyes, something closer to respect and farther from pity. “You didn’t just run from Evan. You ran from everything. From the life they wanted for you. Pre-law, a sensible career, a sensible man.” “I found a career that lets me pay my own bills and a man who doesn’t hit me. Sensible enough.” The words hung in the air, stark and brutal. Leo looked down at his hands. “I got married. Did you know? To Caroline. Divorced two years later. No kids. I travel so much. It was easier.” Easier. The word resonated. An entire existence justified by a single, hollow adjective. She thought of her flat, small and cluttered with her own things. The lock on the door she checked three times. The quiet moments with Silas in the secret room, talking in low voices about things that mattered in shadows. It wasn’t a life anyone would write home about. But it was hers. “The Macallan is good,” she said, changing the subject, nodding at his glass. It was a retreat, and they both knew it. He picked it up, swirling the amber liquid. “It is. Not like the cheap stuff we used to nick from your dad’s cabinet.” “He never noticed. Too busy with his briefs.” She almost smiled at the memory—the panic and the thrill of it, the warm burn in their teenage throats. “We were idiots.” “We were young.” She finished her drink. The ice rattled. “Some of us still are.” He looked at her then, really looked, not with the weight of their shared past, but with the clarity of the present. The woman before him was not the desperate, frightened girl who’d fled in the night. Her shoulders were set. Her gaze was steady. The weariness was there, yes, but underlaid with a resilience he’d never seen. She was built for the shadows. He was built for the light, but the light was beginning to feel too bright, too exposing. “Are you happy?” The question was out before he could stop it, naked and vulnerable. It was the wrong question. It had always been the wrong question. She stood, her stool scraping against the wooden floor. “Happiness is a bit grand. I’m not afraid. That’s enough.” She placed a ten-pound note on the bar, enough to cover her drink and a generous tip. She didn’t look at him as she pulled on her coat, the practical, dark fabric swallowing her. She nodded once to Silas, who gave a barely perceptible dip of his head in return. At the door, she paused, her hand on the cold brass handle. She didn’t turn around. “It was a long time ago, Leo.” The bell chimed her exit into the London night. Leo sat alone at the bar, the bottle of Macallan a silent companion. Silas appeared, wordlessly removing Rory’s glass, the condensation trail already vanishing from the wood. “She’s something else,” Silas murmured, more to himself than to Leo. Leo lifted his glass in a toast to an empty seat. “She always was.” But he knew, with a certainty that settled like a stone in his gut, that the girl he’d known—the Rory of shared secrets and whispered dreams in the dark—was gone. The woman who had just left was a stranger made of harder stuff, forged in fires he’d only ever heard about from a safe distance. And she had just left him sitting in the wreckage of their history, with nothing but a good whisky and the dawning, chilling realisation that in running from her past, she had outrun him completely.
created_at"2026-03-11T22:49:15.021Z" 3/11/2026, 10:49:15 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency644
moderation_latency(null)
generation_time29191
tokens_prompt4618
tokens_completion3584
native_tokens_prompt4214
native_tokens_completion3035
native_tokens_completion_images(null)
native_tokens_reasoning295
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-1773269355-T9A1A3KNDx4T20mh8XnS"
upstream_id"gen-1773269355-T9A1A3KNDx4T20mh8XnS"
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
totalTags24
adverbTagCount3
adverbTags
0"He gestured vaguely [vaguely]"
1"she said finally [finally]"
2"He nodded subtly [subtly]"
dialogueSentences61
tagDensity0.393
leniency0.787
rawRatio0.125
effectiveRatio0.098
88.51% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2176
totalAiIsmAdverbs5
found
0
adverb"very"
count1
1
adverb"quickly"
count1
2
adverb"slightly"
count1
3
adverb"really"
count1
4
adverb"completely"
count1
highlights
0"very"
1"quickly"
2"slightly"
3"really"
4"completely"
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)
42.56% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2176
totalAiIsms25
found
0
word"flickered"
count1
1
word"traced"
count1
2
word"silk"
count1
3
word"eyebrow"
count1
4
word"footsteps"
count1
5
word"measured"
count1
6
word"lilt"
count1
7
word"familiar"
count1
8
word"scanning"
count1
9
word"stark"
count2
10
word"whisper"
count2
11
word"tension"
count1
12
word"weight"
count2
13
word"unspoken"
count1
14
word"silence"
count3
15
word"implication"
count1
16
word"throb"
count1
17
word"electric"
count1
18
word"resonated"
count1
19
word"chilling"
count1
highlights
0"flickered"
1"traced"
2"silk"
3"eyebrow"
4"footsteps"
5"measured"
6"lilt"
7"familiar"
8"scanning"
9"stark"
10"whisper"
11"tension"
12"weight"
13"unspoken"
14"silence"
15"implication"
16"throb"
17"electric"
18"resonated"
19"chilling"
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
narrationSentences140
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences140
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences173
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2168
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1636
uniqueNames15
maxNameDensity0.67
worstName"Silas"
maxWindowNameDensity1.5
worstWindowName"Silas"
discoveredNames
Raven1
Nest1
Yu-Fei-a1
Peking1
Mayfair1
Friday1
Silas11
Rory9
Lynx1
Africa1
Carter1
London2
Leo9
Avoiding1
Macallan1
persons
0"Nest"
1"Silas"
2"Rory"
3"Carter"
4"Leo"
places
0"Raven"
1"Peking"
2"Africa"
3"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount2
matches
0"s, his hearing apparently acute"
1"as if expecting someone to burst in, told a different story"
61.62% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.384
wordCount2168
matches
0"not flashy, but radiating cost"
1"not with the curiosity of an old friend, but with the diagnostic eye of a man who assessed risks"
2"not with the weight of their shared past, but with the clarity of the present"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences173
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs65
mean33.35
std24.28
cv0.728
sampleLengths
093
113
228
330
469
5100
639
711
87
922
1053
1111
1281
1313
146
1535
1618
1722
1831
1918
203
2154
2220
2337
2431
2520
2622
2736
2846
2924
3015
3136
3247
3361
3432
355
3615
3788
3815
3967
4059
4150
4219
4352
449
4542
4620
4736
4866
4922
95.24% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences140
matches
0"been planed"
1"was built"
2"was built"
3"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs249
matches
0"was beginning"
27.25% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount8
semicolonCount0
flaggedSentences7
totalSentences173
ratio0.04
matches
0"“Maybe she saw something in your eyes.” He’d nodded toward the mirror behind the bottles, where her own reflection stared back—cool blue eyes, a little tired, but watchful."
1"The footsteps were confident, measured—not the stumble of the drunk, nor the shuffle of the lost tourist."
2"But the cadence, the slight lilt on the vowels—that was familiar."
3"He wore a dark cashmere jumper beneath his coat, and a watch that caught the light—subtle, not flashy, but radiating cost."
4"The tailored coat, the watch, the confident stance—it all screamed success."
5"“He never noticed. Too busy with his briefs.” She almost smiled at the memory—the panic and the thrill of it, the warm burn in their teenage throats."
6"But he knew, with a certainty that settled like a stone in his gut, that the girl he’d known—the Rory of shared secrets and whispered dreams in the dark—was gone."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1649
adjectiveStacks1
stackExamples
0"small crescent-shaped mark"
adverbCount60
adverbRatio0.036385688295936934
lyAdverbCount22
lyAdverbRatio0.013341419041843541
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences173
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences173
mean12.53
std8.04
cv0.641
sampleLengths
017
124
237
35
410
513
614
714
828
92
105
1115
1223
1326
1410
155
166
175
1817
1914
2024
2119
228
2310
2411
2510
267
274
287
2919
303
3124
3224
335
344
357
369
376
3815
399
4021
4121
4213
435
441
4510
4612
4713
483
4910
41.33% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.26011560693641617
totalSentences173
uniqueOpeners45
24.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences137
matches
0"Then they stopped on Rory."
ratio0.007
36.06% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount63
totalSentences137
matches
0"She’d just finished her last"
1"he’d murmured, polishing a glass"
2"she’d corrected, tucking the note"
3"He’d nodded toward the mirror"
4"She didn’t look up immediately."
5"It was a reflex, that"
6"His hair was cut close"
7"He handed his coat to"
8"He ordered a single malt,"
9"His voice was lower, smoother,"
10"His eyes passed over the"
11"He went very still."
12"She finally turned her head"
13"He wore a dark cashmere"
14"He smelled of expensive cologne"
15"His voice was barely a"
16"She gave a slow nod."
17"His knuckles were white where"
18"Her own voice felt foreign"
19"He gestured vaguely at the"
ratio0.46
14.74% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount122
totalSentences137
matches
0"The neon sign outside The"
1"Rory traced the condensation ring"
2"She’d just finished her last"
3"A name and a number."
4"Silas had raised a single"
5"he’d murmured, polishing a glass"
6"she’d corrected, tucking the note"
7"He’d nodded toward the mirror"
8"Soho’s Friday night crowd was"
9"The scent of spilled beer"
10"A group of suits laughed"
11"The bell above the door"
12"She didn’t look up immediately."
13"It was a reflex, that"
14"The footsteps were confident, measured—not"
15"A man in a tailored"
16"His hair was cut close"
17"He handed his coat to"
18"He ordered a single malt,"
19"His voice was lower, smoother,"
ratio0.891
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount4
totalSentences137
matches
0"Now, she watched the door."
1"Because of the last time"
2"To note exits."
3"To never share her real"
ratio0.029
50.69% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount8
matches
0"A group of suits laughed too loudly in a corner booth, their tie knots loosened, their voices rising and falling with the cadence of obligatory jokes."
1"The man took his first sip, his gaze sweeping the room with the casual efficiency of someone used to scanning for threats or opportunities."
2"He wore a dark cashmere jumper beneath his coat, and a watch that caught the light—subtle, not flashy, but radiating cost."
3"But the tension in his jaw, the way his gaze kept darting to the door as if expecting someone to burst in, told a different story."
4"Because of the last time they’d spoken, a screaming match in a car park behind the chip shop, raw and childish, full of accusations that had curdled into silenc…"
5"Silas’s flat above the bar was the first place in years that felt remotely safe, and that was partly because it was a place of transit, of strangers coming and …"
6"The quiet moments with Silas in the secret room, talking in low voices about things that mattered in shadows."
7"She nodded once to Silas, who gave a barely perceptible dip of his head in return."
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags24
uselessAdditionCount3
matches
0"He leaned, his voice dropping"
1"Leo said, the anger draining out of him, leaving something hollow"
2"Silas murmured, more to himself than to Leo"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"he’d (would)"
1"she’d (would)"
2"Silas murmured (murmur)"
dialogueSentences61
tagDensity0.164
leniency0.328
rawRatio0.3
effectiveRatio0.098
81.2944%