Run: 2026-03-11-01KKFMW3D2AHEFDSA8C2WQYR6Y

Run Details

Duration:
34.5s
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 amber liquid in Rory’s glass caught the dim light, swirling like a miniature storm as she tilted it. She’d been nursing the single whisky for twenty minutes, watching the green neon sign of The Raven’s Nest bleed its colour onto the wet pavement outside. It was a ritual. Come here, sit in the corner, let the low murmur of conversations and the scent of old wood and spilled gin coat her like a thin blanket. It was safe. Predictable. The door opened, admitting a gust of damp November air and a man in a dark overcoat. Rory didn’t look up. New faces came and went. Silas, behind the bar polishing a glass, gave a slight, almost imperceptible nod to the newcomer. Rory tracked the man’s progress in the reflection of her own glass: tall, moving with a stiff, deliberate grace that didn’t quite reach his shoulders. He ordered a pint, paid with a crisp note, and turned to survey the room. His eyes swept past her, then snapped back. Rory’s fingers tightened around her glass. The face was older, lines etched around the mouth and eyes where there had been none, the jawline harder, shadowed with a day’s growth. But the eyes—the pale, startlingly clear grey—were the same. They held a flicker of recognition, then something shuttered over, a quick recalculation. “Rory Carter?” His voice was deeper, roughened by something more than age. She placed it in the past, a ghost from a Cardiff sixth form common room. Leo. Leo Finch. “It’s been a while,” she said, her own voice steady. She didn’t smile. He approached her table, pint in hand. “Mind if I…?” She gestured to the empty chair opposite her. The space between them felt charged, heavy with the things two people don’t say when they meet after a decade. He sat, placing his beer carefully on the worn oak. “Christ. I almost didn’t. You look…” He trailed off, searching. “Aware,” she supplied, taking a small sip of her whisky. It burned a clean path down her throat. “You look different, Leo.” “Life does that.” A half-smile that didn’t touch his eyes. He gestured vaguely at her wrist, where the edge of her coat sleeve had ridden up, revealing the thin crescent scar. “Still there, then.” “Some things stay.” She covered the scar with her other hand, an unconscious movement. “What brings you to the Nest? It’s not exactly on the tourist trail.” “Silas,” he said, as if that explained everything. Of course. Silas collected people, his bar a magnet for the connected, the desperate, the quietly dangerous. She herself was there because it was above the flat Silas rented her, because after Evan, the idea of a home directly above a man who had once, as he put it, “managed assets for Her Majesty” felt oddly secure. “He keeps good stock,” Rory said, nodding at his pint. “Does he.” Leo’s gaze flicked to Silas, who was now speaking in low tones with a woman in a leather jacket near the bookshelf that hid the back room. “He keeps what’s useful.” He looked back at her. “So, Pre-Law. You followed the script.” Rory felt a prickle of irritation. The script her father, the barrister, had laid out. The script she’d followed until it became a cage. “Not exactly. I deliver curries now, mostly. And noodles. Golden Empress does a respectable Singapore Noodle.” Leo’s eyebrows rose. “A delivery driver. You were top of our year. Head of the debate society. You could have argued the side off a barn.” “Maybe I argued myself into a corner.” The words came out flatter than she intended. She saw Evan’s face, not shouting, but the cold, quiet disappointment that was somehow worse. *You think you’re so clever, don’t you, Rory? Always out-thinking everyone.* She pushed the memory down. “People change. You certainly have. What is this?” She gestured to his expensive coat, the watch that caught the light, the general air of compressed tension he wore like a second skin. Leo’s hand went to his collar, a brief, fidgeting touch. “Consulting. Security risk assessment. Corporate stuff.” It was delivered too smoothly, a line rehearsed. “Right.” She let the word hang. They both knew he’d been a philosophy undergraduate last time she’d seen him, talking about Foucault and the panopticon, his hair a mess, his shoes perpetually untied. This man’s hair was cut close, severe. His knuckles were roughened, scarred in a way that had nothing to do with books. An uncomfortable silence stretched. The jukebox in the corner played a song by The Smiths, Morrissey crooning about a light that never goes out. Rory stared into her glass. “Heard you left Cardiff,” Leo said, breaking the quiet. “After… things. Eva mentioned it.” “Eva talks too much.” Eva, her childhood friend, the one who’d pulled her to London, who still checked in with worried texts. “London was… necessary.” “From Evan?” The name dropped between them, ugly and slick. Rory didn’t flinch, but the air left her lungs. “Evan is not a thing I discuss. In any pub. With anyone.” She met his gaze, her blue eyes unblinking. Let him see the wall, the absolute line. Leo held up his hands, a gesture of peace that looked more like a surrender. “Sorry. Course. Just… I remember how it was with you two. Thought maybe you got out.” “I did get out.” The snap in her voice surprised even her. She took a breath, reining it in. She was cool-headed. That was her. “I’m out. What about you? You look like you’re carrying the weight of whatever ‘corporate stuff’ entails.” He rubbed the back of his neck, a gesture she remembered from when he was nervous in tutorials. “It’s… intensive. High stakes. You have to be sharp. Constantly. The slightest slip, the wrong word…” He stopped, staring at his own pint as if it held an answer. “Sounds like a pressure cooker.” “It is.” He said it with a kind of bleak acceptance. He took a long drink. “You ever feel like you’re playing a part so long you forget who you were before the costume? Like the mask is glued on, and you’re not sure if you can peel it off without taking skin with it?” The raw honesty of it, so at odds with his polished facade, startled her. She saw a flicker of the boy from Cardiff in his eyes, not the weary man in the expensive coat. The regret wasn’t just about lost time; it was about a lost self. “Sometimes,” she admitted, her voice softer. She thought of the delivery scooter, the anonymity of the helmet, the brief moments of connection at doorsteps that were clean and required nothing from her except the transfer of a bag. It wasn’t a life of consequence, but it was simple. “But then you remember you can always just… take the costume off. It might be messy, but it’s just fabric.” Leo gave a short, humourless laugh. “Is it? Silas didn’t give me that option.” He nodded again towards the bar owner, who was now wiping down the counter, his movements economical. “He found me at a low point. Offered a way out. But the exit fee… it’s steep.” Rory followed his gaze to Silas. Her landlord, her casual employer who sometimes slipped her extra shifts, who had a key to her flat in an envelope in his desk for ‘emergencies only.’ The man whose silver signet ring she’d never seen him without, the one that bore some crest she’d never examined closely. The network. Silas’s ‘network of contacts’ was not an abstract concept. It had a human cost. “What did he pull you into, Leo?” He shook his head, a quick, sharp movement. “That’s not for this table. Not for you.” His eyes were urgent now. “You, Rory. You’re clean. Stay clean. Don’t let him… involve you. The Nest is one thing. Living here is another.” A chill, unrelated to the November draft, traced her spine. “He’s my landlord. I deliver food. That’s all.” “Is it?” Leo leaned forward, his voice dropping to a harsh whisper. “Does he ever give you special deliveries? A package for a ‘friend’ in Camden? A request to hand something to a regular at the bar?” Rory’s mind raced. There had been a few odd requests. A small parcel to leave in the mailbox of a flat in Soho. A message passed to a man with a limp who sat in the far booth every Tuesday. She’d told herself it was harmless, just Silas’s slightly eccentric way of operating his bar and his ‘contacts.’ She’d never questioned it. She hadn’t wanted to. “I don’t know what you’re talking about.” “Good.” Leo sat back, the tension leaving his frame as if he’d deflated. “Keep it that way. For your sake.” He looked genuinely concerned, and it was more unsettling than any threat. “What happened to you, Leo?” she asked, the question quiet but insistent. “The boy who wanted to deconstruct power structures… he ends up working for a man who seems to collect them?” He smiled, a bitter, tired thing. “He deconstructed one too many. Or tried to. Ended up inside one. Silas offered to get me out, but the price was a period of… service. Learning the ropes. Becoming useful.” He tapped his temple. “Turns out, all that time thinking about power made me decent at anticipating its moves. A talent he monetised.” Rory absorbed this. The weight of it. The unspoken regret for the path not taken, for the self eroded by necessity. And a new, sharper regret for her own willful blindness. The quiet, safe corner she’d carved for herself above the bar suddenly felt like it was built over a fault line. “I have to go,” Leo said abruptly, pushing his chair back. He placed a ten-pound note on the table. “My train.” “Leo, wait.” She stood too, unsure what she was asking. Warning? Explanation? Absolution? He turned to face her, and for a second, his face was unguarded. She saw the fear, the exhaustion, the profound loneliness of the part he played. “It was good to see you, Rory. Truly. But it’s better if you forget you saw me. And if you hear anything… odd… here? You didn’t. You were just having a quiet drink.” He touched the brim of an imaginary hat, a ghost of the old, self-deprecating gesture, and then he was gone, the door closing behind him, taking his strange, frantic energy with it. Rory stood frozen by the table, the ten-pound note looking suddenly menacing. The smell of beer and woodsmoke felt cloying. Silas caught her eye from behind the bar and raised his own glass, a benign, friendly gesture. His signet ring glinted under the low lights. Rory looked away, her gaze falling on the bookshelf that led to the hidden back room. She’d always assumed it was just for storage, for the occasional shady deal that kept a bar like this afloat. Now, the wood seemed to pulse with hidden meanings. She gathered her things, her coat feeling thin and useless. As she headed for the door, a man she recognised from Silas’s ‘special Tuesday regular’ slid into the booth Leo had just vacated. He nodded to Silas, who gave a slight tilt of his head toward the bookshelf. Rory pushed out into the cold, wet London night. The green neon sign of The Raven’s Nest buzzed overhead, its light no longer a soothing beacon but a warning. Leo’s warning echoed in her ears. *You didn’t see me.* But she had. And now, the quiet, simple truth of her life here, the one she’d built piece by fragile piece, was cracking at the edges, revealing a darkness she had chosen not to see.
created_at"2026-03-11T23:49:20.447Z" 3/11/2026, 11:49:20 PM
model"openrouter/healer-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency911
moderation_latency(null)
generation_time34446
tokens_prompt4618
tokens_completion3352
native_tokens_prompt4214
native_tokens_completion2880
native_tokens_completion_images(null)
native_tokens_reasoning346
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-1773272960-7XegruFkGWRnKXCbxFEz"
upstream_id"gen-1773272960-7XegruFkGWRnKXCbxFEz"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Stealth"

Evaluation details

Result Evaluator Details Meta Data
33.33% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags30
adverbTagCount5
adverbTags
0"He nodded again [again]"
1"Leo sat back [back]"
2"He looked genuinely [genuinely]"
3"Leo said abruptly [abruptly]"
4"She stood too [too]"
dialogueSentences56
tagDensity0.536
leniency1
rawRatio0.167
effectiveRatio0.167
87.30% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1968
totalAiIsmAdverbs5
found
0
adverb"carefully"
count1
1
adverb"slightly"
count1
2
adverb"suddenly"
count2
3
adverb"truly"
count1
highlights
0"carefully"
1"slightly"
2"suddenly"
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)
44.11% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1968
totalAiIsms22
found
0
word"predictable"
count1
1
word"etched"
count1
2
word"flicker"
count2
3
word"charged"
count1
4
word"flicked"
count1
5
word"tension"
count2
6
word"silence"
count1
7
word"weight"
count2
8
word"facade"
count1
9
word"chill"
count1
10
word"traced"
count1
11
word"whisper"
count1
12
word"raced"
count1
13
word"anticipating"
count1
14
word"unspoken"
count1
15
word"profound"
count1
16
word"pulse"
count1
17
word"beacon"
count1
18
word"echoed"
count1
highlights
0"predictable"
1"etched"
2"flicker"
3"charged"
4"flicked"
5"tension"
6"silence"
7"weight"
8"facade"
9"chill"
10"traced"
11"whisper"
12"raced"
13"anticipating"
14"unspoken"
15"profound"
16"pulse"
17"beacon"
18"echoed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"flicker of emotion"
count1
highlights
0"a flicker of recognition"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences131
matches
0"felt a prickle"
1"was nervous"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences131
filterMatches
0"think"
1"see"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences156
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords15
totalWords1966
ratio0.008
matches
0"You think you’re so clever, don’t you, Rory? Always out-thinking everyone."
1"You didn’t see me."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
97.11% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions58
wordCount1418
uniqueNames18
maxNameDensity1.06
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Rory15
Raven2
Nest2
November2
Cardiff2
Finch1
Silas10
Evan2
Leo12
Foucault1
Smiths1
Morrissey1
Eva1
London2
Let1
Soho1
Tuesday1
Warning1
persons
0"Rory"
1"Raven"
2"Nest"
3"Finch"
4"Silas"
5"Evan"
6"Leo"
7"Morrissey"
8"Eva"
9"Warning"
places
0"November"
1"Cardiff"
2"London"
3"Soho"
globalScore0.971
windowScore1
98.45% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences97
glossingSentenceCount2
matches
0"quite reach his shoulders"
1"felt like it was built over a fault lin"
98.27% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.017
wordCount1966
matches
0"not shouting, but the cold, quiet disappointment"
1"no longer a soothing beacon but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences156
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs53
mean37.09
std21.94
cv0.591
sampleLengths
080
182
28
352
42
528
613
710
828
920
1022
1134
1227
1365
1410
1544
1640
1726
1878
1924
2055
2129
2214
2325
2410
2537
2631
2742
2847
295
3055
3147
3268
3348
3470
357
3641
3718
3837
3966
407
4132
4232
4360
4452
4521
4613
4760
4832
4990
94.55% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences131
matches
0"was delivered"
1"were roughened"
2"was built"
3"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs235
matches
0"was asking"
1"was cracking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount1
flaggedSentences2
totalSentences156
ratio0.013
matches
0"But the eyes—the pale, startlingly clear grey—were the same."
1"The regret wasn’t just about lost time; it was about a lost self."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1153
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.03469210754553339
lyAdverbCount11
lyAdverbRatio0.009540329575021683
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences156
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences156
mean12.6
std8.91
cv0.707
sampleLengths
019
126
24
327
43
51
617
74
85
916
1025
1115
128
136
1424
159
1613
172
1810
1915
201
212
2210
233
247
253
268
2720
2810
2910
3010
318
324
3310
3421
353
3614
3713
388
392
4015
4140
4210
4329
449
456
466
479
489
4916
57.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.3717948717948718
totalSentences156
uniqueOpeners58
27.32% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences122
matches
0"Always out-thinking everyone.* She pushed"
ratio0.008
23.28% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount60
totalSentences122
matches
0"She’d been nursing the single"
1"It was a ritual."
2"It was safe."
3"He ordered a pint, paid"
4"His eyes swept past her,"
5"They held a flicker of"
6"His voice was deeper, roughened"
7"She placed it in the"
8"she said, her own voice"
9"She didn’t smile."
10"He approached her table, pint"
11"She gestured to the empty"
12"He sat, placing his beer"
13"He trailed off, searching"
14"she supplied, taking a small"
15"It burned a clean path"
16"He gestured vaguely at her"
17"She covered the scar with"
18"he said, as if that"
19"She herself was there because"
ratio0.492
0.98% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount112
totalSentences122
matches
0"The amber liquid in Rory’s"
1"She’d been nursing the single"
2"It was a ritual."
3"It was safe."
4"The door opened, admitting a"
5"Rory didn’t look up."
6"Silas, behind the bar polishing"
7"Rory tracked the man’s progress"
8"He ordered a pint, paid"
9"His eyes swept past her,"
10"Rory’s fingers tightened around her"
11"The face was older, lines"
12"They held a flicker of"
13"His voice was deeper, roughened"
14"She placed it in the"
15"she said, her own voice"
16"She didn’t smile."
17"He approached her table, pint"
18"She gestured to the empty"
19"The space between them felt"
ratio0.918
40.98% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences122
matches
0"Now, the wood seemed to"
ratio0.008
79.37% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount4
matches
0"Rory tracked the man’s progress in the reflection of her own glass: tall, moving with a stiff, deliberate grace that didn’t quite reach his shoulders."
1"She saw Evan’s face, not shouting, but the cold, quiet disappointment that was somehow worse."
2"She thought of the delivery scooter, the anonymity of the helmet, the brief moments of connection at doorsteps that were clean and required nothing from her exc…"
3"She’d always assumed it was just for storage, for the occasional shady deal that kept a bar like this afloat."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags30
uselessAdditionCount6
matches
0"she said, her own voice steady"
1"he said, as if that explained everything"
2"She met, her blue eyes unblinking"
3"she admitted, her voice softer"
4"Leo leaned, his voice dropping to a harsh whisper"
5"Leo sat back, the tension leaving his frame as if he’d deflated"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount2
fancyTags
0"she admitted (admit)"
1"She’d (would)"
dialogueSentences56
tagDensity0.161
leniency0.321
rawRatio0.222
effectiveRatio0.071
80.2510%