Run: 2026-03-12-01KKFNRT6YR9NJ3MS83A2X02RJ

Run Details

Duration:
1m 3s
Cost:
$0.000000
Provider:
Stealth

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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 deadbolt scraped back and the chain caught three inches of light from the hallway. Three heartbeats passed before Rory recognised the shoes. Italian leather, charcoal grey, not a scuff anywhere. She'd always hated those shoes. Hated that she remembered them. Hated that her fingers loosened the chain without permission from her brain. Lucien Moreau filled her doorframe like he'd been carved there. The amber eye caught the landing light and turned to molten gold. The black one swallowed it whole. His platinum hair sat slicked back against his skull, and the ivory-handled cane rested between his fingers as though it were a natural extension of his hand. The suit, as always, looked pressed by angels. "You've got ten seconds before I close this door." "Nine more than I need." His accent curled around the words, French at the edges, London at the centre. "May I come in?" "No." "Ptolemy misses me." The tabby in question chose that exact moment to wind between Rory's ankles, tail high, purring like a small engine. Traitor. "I don't have food for delivery. This isn't a Golden Empress run." "Since when do I order takeaway?" Lucien shifted his weight. The cane tapped once against the threshold. "This is about the Thornwood problem. The one Eva asked you to look into." Rory's grip tightened on the door. "Eva told you about that?" "Eva tells me everything. Eventually." There it was. The thing between them that never quite healed over. Eva, who moved between their worlds like water through stone, who collected broken people the way other people collected stamps, and who had never once apologised for introducing them. "Talk through the door." "You want the whole hallway to hear about the Binding Circle beneath Temple Church?" Rory closed her eyes. She counted to three. The crescent-shaped scar on her left wrist itched the way it always did when she was about to do something stupid. She unhooked the chain. Lucien stepped inside with the smooth economy of movement that had always irritated her. He didn't glance around the flat, didn't need to. He'd memorised it months ago, she was sure. The worn leather sofa with its blanket draped over one arm. The narrow kitchen with its single working hob. The stack of unopened mail on the counter. He catalogued everything with that half-demon attention, filed it away for future use. "Sit." "I prefer to stand." "Sit or leave." He sat. Chose the armchair rather than the sofa, positioned himself so the room's single lamp fell on his left side, the amber eye. He'd always been vain about that eye. Not the black one. The black one was for work, for the supernatural underworld where a half-demon with one foot in Avaros commanded more respect than any human information broker ever could. Ptolemy leapt onto his lap without invitation, kneading the charcoal wool of his trousers. Lucien stroked the cat's ears with his thumb. The sight made something twist behind Rory's ribs. "I'll have whisky if you're offering." "I'm not." "Water then." She poured two glasses from the tap and set one on the side table beside him. Her own she carried to the kitchen counter, using the distance as armour. The flat wasn't large enough to give her proper range, but every inch counted. "Talk." Lucien reached into his breast pocket and produced a folded photograph. He placed it on the side table without looking at it. Rory didn't move to take it. "You found something." "I found four somethings. Four locations where the Binding Circle's been activated in the last month. Temple Church, a warehouse in Deptford, a crypt beneath Highgate, and a storage unit in bloody Croydon." "Croydon?" "Even dark forces need industrial parks." The corner of his mouth twitched. Not quite a smile. Lucien didn't smile, not really. He performed the mechanics of one when the occasion demanded, but it never reached either eye. "The pattern concerns me. Four points, equidistant, forming a diamond across London. Someone is building a network." "A network for what?" He removed the cane's ivory handle with a precise twist. The thin blade caught the light, steel so fine it looked silver. He laid it across his knees and Rory's stomach clenched. She'd seen what that blade could do. Had watched him use it once, in a alley off Fleet Street, and had not spoken to him for three weeks afterward. "That's what I need your brain for, Carter. The ritual requires a fifth anchor point. The apex of the structure. I believe the circle will complete itself at the next new moon, which gives us eleven days to find the final location and dismantle the whole network before it activates." "You could hire someone for this." "I don't want someone." The words hung between them, weighted with everything they hadn't said four months ago. Rory wrapped her fingers around her glass until the knuckles whitened. The water tasted flat and metallic. "I'm not your problem to solve, Lucien." "Did I say you were?" "You didn't have to." He stroked Ptolemy's head. The cat purred louder, rubbing his jaw against Lucien's hand. Rory wanted to scream at the animal. Wanted to pick him up and lock him in the bathroom until this was over. Ptolemy had no sense of self-preservation. None whatsoever. "Eva is worried." "Eva's always worried. It's her default state." "She's worried about you. Says you haven't been eating properly. Says you picked up extra shifts at the restaurant to avoid being here. Says you flinch when someone knocks on the door." Rory's glass hit the counter hard enough to chip the rim. "She had no right—" "She's your friend. She has every right." "And you're what, exactly? Her messenger boy?" Rory turned to face him full on, arms crossed. The kitchen light behind her threw her shadow across the room, across his shoes, across the cat in his lap. "Last time I saw you, you told me to forget everything. That what we had was a distraction. That I was a liability in your world. So forgive me if I'm not thrilled to find you on my doorstep at—" She glanced at the clock. "Half eleven at night, asking for help like we're old mates catching up." Lucien set Ptolemy gently on the floor. The cat protested with a mew and stalked toward the kitchen. Lucien rose, and when he moved toward her, Rory's spine hit the counter behind her. Not from fear. Never from fear. From the thing that lived in the space between them, the thing that hummed like a live wire whenever he got within arm's reach. "I told you those things because they were true." "Congratulations. Truth is easy when it costs you nothing." "It cost me everything." His voice dropped. Not to a whisper, Lucien didn't whisper. But it fell to that register he kept locked away, the one without performance or polish. The one that belonged to the boy from Marseille who'd grown up knowing what it meant to have a demon's blood running through his veins and a human mother who flinched every time his eyes caught the light. Rory's breath stalled in her chest. "The night I left, I walked to the Thames and stood on Southwark Bridge for two hours." He stopped an arm's length away. Close enough that she caught his scent, sandalwood and cold iron and something underneath that was purely him. "I don't swim, Carter. You know this." "Don't." "I stood there, and I thought, if the demon in me would just let go, I could step off and the water would take the rest." The scar on her wrist burned. She pressed her thumb against it without thinking. "You didn't." "No. Because a man asked me for a cigarette, and I don't smoke, and the absurdity of it broke something open." Lucien's heterochromatic eyes held hers. Both of them. The amber and the black, neither hiding, neither performing. "I came back because there was work to do. Because there are always people who need information, and I am very good at finding it. But I came back empty." "You're never empty. You're the fullest person I've ever met. Full of secrets, full of angles, full of—" "You." The word landed like a stone in still water. "I was full of you. And I threw it away because I was afraid." Rory stared at him. The man who spoke four languages fluently, who moved through the supernatural underworld like a shark through coral, who had once negotiated a ceasefire between a vampire coven and a pack of werewolves using nothing but a bottle of Bordeaux and a deck of cards. Afraid. "You don't get to be afraid of me." "Not of you. Of what happens to you because of me." He reached out and his fingers hovered near her left wrist, not touching, never touching without permission. "That world, Carter. It devours things. Beautiful things." "I'm not a thing." "No. You're the only person who's ever made me forget what I am." The space between his fingers and her wrist pulsed. Rory looked down at it, at the almost-touch, at the crescent scar hidden beneath her sleeve that she'd never shown him, never explained. She'd kept that secret like a coin pressed against her tongue, and now it ached to be released. "The Thornwood circle," she said, her voice rough. "Show me the photograph." Lucien lowered his hand. Something flickered across his face, too fast to name. He stepped back and returned to the side table, picked up the photograph, and held it out. Rory crossed the room and took it. Their fingers brushed. Neither pulled away fast enough. The photograph showed a warehouse wall covered in symbols. Some she recognised from Eva's research, spirals and geometric patterns that belonged to the Binding Circle's core language. Others were new. Fresh. Painted in something dark that the flash had turned copper-brown. "That was taken this morning." "Someone's been very busy." "Look closer. Bottom right corner." Rory tilted the photograph toward the light. In the lower right, almost hidden behind a steel support beam, someone had scratched a symbol she knew. She knew it because she'd seen it carved into her own front door two weeks ago and had told herself it was nothing. Told herself it was just vandals, just East London being East London. Her crescent scar throbbed. "Lucien." "I know." "Someone's been watching me." "Not someone." He took the photograph back and placed it face-down on the table. "Something. And it knows where you live." A crash from downstairs. The bar below, Silas's place, had closed hours ago. The sound was wrong. Not a dropped glass or a toppled stool. It was structural. Wood splintering. Metal bending. Lucien's cane blade was in his hand before Rory registered him moving. He crossed to the door in two strides, pressed his back against the wall, and listened. "They've found you faster than I calculated," he said. His voice had switched registers again, back to the performer, the fixer. All business. All edges. "Back window. Fire escape. Go." "I'm not leaving my home—" The front door exploded inward. Three deadbolts. Three reinforced bolts she'd installed after Evan, after she'd learned what it meant to have someone kick their way into your life. All three gave way like wet paper. The thing in the doorway had too many teeth. Rory grabbed the heaviest thing within reach, a cast-iron pan from the hob, and threw it. The pan connected with the first shoulder through the door with a crack that echoed off every wall. Lucien moved like water, like smoke, the blade catching light as it found the gap between armour plates she hadn't even registered as armour. Ptolemy shot under the sofa. Rory grabbed her phone, her keys, and the photograph from the table. She vaulted the kitchen counter, snagged her jacket from the hook by the back window, and kicked out the fire escape door with her heel. "Carter!" She turned. Lucien stood in the centre of her wrecked flat, blade wet, the thing on the floor twitching in two pieces. Another pressed through the broken doorway behind it. Then a third. "The Thornwood network isn't dormant," he said, backing toward her with the cane blade extended. "It's active. It's been watching. And it wants the blood of someone who was marked before they were born." The crescent scar on Rory's wrist pulsed in time with her heartbeat. "What the hell does that mean?" "It means you, Carter. It always meant you."
created_at"2026-03-12T00:05:01.308Z" 3/12/2026, 12:05:01 AM
model"openrouter/hunter-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2863
moderation_latency(null)
generation_time63244
tokens_prompt4556
tokens_completion3455
native_tokens_prompt4155
native_tokens_completion2920
native_tokens_completion_images(null)
native_tokens_reasoning245
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0
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-1773273901-8DnRCvzXRyVwjz1SdGJQ"
upstream_id"gen-1773273901-8DnRCvzXRyVwjz1SdGJQ"
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
totalTags13
adverbTagCount2
adverbTags
0"His accent curled around [around]"
1"The word landed like [like]"
dialogueSentences75
tagDensity0.173
leniency0.347
rawRatio0.154
effectiveRatio0.053
90.47% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2098
totalAiIsmAdverbs4
found
0
adverb"really"
count1
1
adverb"gently"
count1
2
adverb"very"
count2
highlights
0"really"
1"gently"
2"very"
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)
71.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2098
totalAiIsms12
found
0
word"weight"
count1
1
word"stomach"
count1
2
word"structure"
count1
3
word"sense of"
count1
4
word"whisper"
count2
5
word"pulsed"
count2
6
word"flickered"
count1
7
word"throbbed"
count1
8
word"calculated"
count1
9
word"echoed"
count1
highlights
0"weight"
1"stomach"
2"structure"
3"sense of"
4"whisper"
5"pulsed"
6"flickered"
7"throbbed"
8"calculated"
9"echoed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences141
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences141
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences203
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2098
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions63
wordCount1448
uniqueNames19
maxNameDensity1.45
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Rory21
Moreau1
French1
London3
Avaros1
Fleet1
Street1
Ptolemy5
Lucien15
Marseille1
Close1
Bordeaux1
Eva2
Binding1
Circle1
East2
Silas1
Evan1
Three3
persons
0"Rory"
1"Moreau"
2"Ptolemy"
3"Lucien"
4"Eva"
5"Circle"
6"Evan"
7"Three"
places
0"London"
1"Fleet"
2"Street"
3"Marseille"
4"Binding"
5"East"
6"Silas"
globalScore0.775
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences99
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2098
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences203
matches
0"Hated that she"
1"Hated that her"
2"kept that secret"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs98
mean21.41
std21.08
cv0.985
sampleLengths
015
138
263
39
423
51
63
721
812
931
1011
115
1241
134
1414
1529
164
1771
181
194
203
2163
2230
236
242
252
2643
271
2828
293
3033
311
3254
334
3461
3550
366
374
3831
397
405
414
4244
433
447
4532
4615
477
4894
4963
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences141
matches
0"been carved"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs246
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences203
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1457
adjectiveStacks0
stackExamples(empty)
adverbCount48
adverbRatio0.032944406314344546
lyAdverbCount4
lyAdverbRatio0.002745367192862045
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences203
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences203
mean10.33
std8.57
cv0.829
sampleLengths
015
18
28
35
45
512
610
712
86
927
108
119
1219
134
141
153
1620
171
1812
1910
207
2114
226
235
245
253
269
2729
284
2914
304
314
3221
334
3414
359
368
3711
388
398
4013
411
424
433
442
4522
467
474
4828
4914
48.60% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.33004926108374383
totalSentences203
uniqueOpeners67
25.84% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences129
matches
0"Then a third."
ratio0.008
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences129
matches
0"She'd always hated those shoes."
1"His platinum hair sat slicked"
2"His accent curled around the"
3"She counted to three."
4"She unhooked the chain."
5"He didn't glance around the"
6"He'd memorised it months ago,"
7"He catalogued everything with that"
8"He'd always been vain about"
9"She poured two glasses from"
10"Her own she carried to"
11"He placed it on the"
12"He performed the mechanics of"
13"He removed the cane's ivory"
14"He laid it across his"
15"She'd seen what that blade"
16"He stroked Ptolemy's head."
17"She glanced at the clock"
18"His voice dropped."
19"He stopped an arm's length"
ratio0.264
45.27% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount107
totalSentences129
matches
0"The deadbolt scraped back and"
1"Italian leather, charcoal grey, not"
2"She'd always hated those shoes."
3"Lucien Moreau filled her doorframe"
4"The amber eye caught the"
5"The black one swallowed it"
6"His platinum hair sat slicked"
7"The suit, as always, looked"
8"His accent curled around the"
9"The tabby in question chose"
10"Lucien shifted his weight"
11"The cane tapped once against"
12"Rory's grip tightened on the"
13"The thing between them that"
14"Eva, who moved between their"
15"Rory closed her eyes."
16"She counted to three."
17"The crescent-shaped scar on her"
18"She unhooked the chain."
19"Lucien stepped inside with the"
ratio0.829
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences129
matches(empty)
ratio0
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount4
matches
0"His platinum hair sat slicked back against his skull, and the ivory-handled cane rested between his fingers as though it were a natural extension of his hand."
1"Eva, who moved between their worlds like water through stone, who collected broken people the way other people collected stamps, and who had never once apologis…"
2"The man who spoke four languages fluently, who moved through the supernatural underworld like a shark through coral, who had once negotiated a ceasefire between…"
3"Some she recognised from Eva's research, spirals and geometric patterns that belonged to the Binding Circle's core language."
48.08% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount2
matches
0"He reached out, not touching, never touching without permission"
1"she said, her voice rough"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount0
fancyTags(empty)
dialogueSentences75
tagDensity0.04
leniency0.08
rawRatio0
effectiveRatio0
86.2721%