Run: 2026-03-18-01KM1GYQQ0NRFW3BEV36WJB9TD

Run Details

Duration:
1m 28s
Cost:
$0.004878
Provider:
Minimax

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 knock came at half eleven. Three sharp raps, precise as a metronome. Rory set down the copy of Blackstone's she'd been pretending to read and frowned at the ceiling. *Landlord check? *No. Silas never knocked after dark. He sent Ptolemy up with a note pinned to his collar if the boiler was acting up again, which it did with the regularity of a menstrual cycle. She crossed the living room in bare feet, her phone still warm in her hand where she'd been scrolling through Eva's messages about some lead on a sigil that might actually mean something for once. The flat above the curry house smelled permanently of cumin and old books, a combination she found comforting in the way most people found it inexplicable. Ptolemy watched from the arm of the sofa, amber eyes tracking her movement with the intensity of a creature who had seen things and would not be sharing them. She checked the peephole. Her stomach dropped through the floorboards. Lucien Moreau stood in the corridor with his ivory-handled cane hooked over one arm and an expression that suggested he had not travelled across London in the rain merely to pass the time of day. The corridor light buzzed and flickered above him, casting his sharp jaw and slicked-back platinum hair in stuttering relief. His charcoal suit looked immaculate, as always. The man could attend a flood and emerge looking like he'd stepped out of a tailoring catalogue. One amber eye, one black, caught the light at exactly the moment she pressed her face to the peephole, as though he'd known precisely where she was standing. "Open the door, Aurora." His voice carried the same cultured warmth she remembered. Soft. Deliberate. French-inflected in a way that suggested either genuine upbringing or very expensive tutoring. "I can hear you breathing." *Shit.* She considered not answering. Genuinely considered it. Three seconds of silence where she could pretend nobody was home and he would have to leave and she could go back to her pointless reading and her cold tea and her cat who was now very pointedly grooming himself, the traitor, as though this were any other evening. "You're blocking the peephole," he added. "I can see the shadow of your foot." She opened the door. Not all the way. Just enough to fill the gap with the width of her body and a look that she hoped communicated several things at once, none of which were *I've thought about you more than I've admitted to anyone*. "Luc." "Aurora." "Lucien." "Aurora." He tilted his head slightly, a gesture that used to make her want to simultaneously slap him and pull him by his stupid lapels. "I see your memory of my name hasn't faded." "Funny. I was about to say the same about your memory of my address." His mouth twitched. Not quite a smile. Lucien's smiles were rare, carefully rationed things, and she had collected exactly three of them during the entire duration of their association. She was fairly certain she still had all three stored somewhere she didn't examine too closely. "I had help." He produced a slim phone from his breast pocket and flicked the screen. A contact name. Eva. "Your friend is remarkably protective. Remarkably *persistent*. She threatened to salt my espresso." "Roasted my coffee once. You deserved it." "Undoubtedly. May I come in?" "No." "Liar." He said it gently, almost fondly, and that was worse than if he'd said it with malice. That warmth in his voice, the particular cadence he reserved for her when they were alone, when the masks were off and it was just the two of them and whatever wreckage they'd left between them the last time. "You're standing in a doorway in a vest top at half eleven on a Tuesday. You opened the door. Whatever argument you've prepared in the last ninety seconds, you'll let me in regardless." She hated that he was right. She hated it more that he knew she knew it. She stepped aside. The flat swallowed him immediately, which was somewhat satisfying. Lucian's aesthetic belonged in a Mayfair penthouse, all clean lines and understated wealth, and the cramped chaos of her books-and-curry situation visibly registered on his face. He said nothing, merely surveyed the room with an expression of polite neutrality that probably cost him considerable effort. Ptolemy abandoned his grooming to wind between his ankles, because of course the cat would pick the most dramatic, attention-seeking moment possible to be friendly. "He's not usually like this," Rory said, closing the door. "He hates everyone." Lucian crouched smoothly, coat-tail brushing the worn floorboards, and extended two fingers for Ptolemy to sniff. The cat immediately rolled onto his back in obscene display. "Traitor," she said again, to both of them this time. "He's testing me." Lucian straightened, brushing invisible cat hair from his sleeve with two quick swipes. "Feline dominance rituals." "You'd know." "I'm half-demon, not half-cat. Entirely different kingdoms." He turned to face her, and suddenly the room felt smaller. He had a way of occupying space that defied the physical laws of square footage, this quiet gravity that pulled every conversation toward him like a stone dropped in still water. "We need to talk about what happened in Battersea." Ah. There it was. She should have known he wouldn't have come all this way for pleasantries. "Battersea was three months ago." "Eleven weeks." "You counted." "You disappeared." The words came out even, controlled, but something moved behind those mismatched eyes. Something that wasn't anger, exactly. More like the moment before a storm front arrives and the air goes tight and strange. "No calls. No messages. You blocked my number, which I'll admit I found impressively petty given what we—" "Lucian." She held up a hand. "I left because I needed to leave. That's the whole of it." "No." He stepped closer. She held her ground, though her heartbeat was doing something inconvenient against her ribs. "It isn't. We both know that." The flat was too small for this. Too warm. She could smell his cologne now, something citrus and cedar that she had very deliberately not purchased for herself in the intervening weeks because she refused to be that obvious about anything. Her lungs felt tight. She wondered if he knew. She wondered if he always knew. "The whole of it," she said carefully, "is that things were getting complicated and I don't do complicated. I thought I made that clear." "You made a lot of things clear." He stopped an arm's length away. Close enough that she could see the faint scar bisecting his left eyebrow, the one she'd never asked about and he had never volunteered. "The note you left was particularly articulate. *This was a mistake.* Three words. Elegant in its brevity." "It wasn't a mistake." She hadn't meant to say it. It came out before she could catch it, raw and unguarded, and she watched it land on him like a physical thing. Watched his composure flicker, just for a fraction of a second, the careful mask slipping to reveal something underneath that looked almost like pain. "No?" His voice had dropped. "Then why did you leave?" "Because you didn't ask me to stay." Silence. The kind that has weight and texture, that fills a room like water. Ptolemy had vanished somewhere, presumably to a dimension where cats went during awkward human moments. Somewhere below them, the curry house was closing up, chairs scraping, muffled bhangra fading to nothing. "That's not—" Lucian stopped. Started again. "I assumed the conclusion was self-evident." "You assumed a lot of things." "I assumed you knew me." "I did know you. I do know you." She was shaking, she realised. Not dramatically, just a fine tremor in her hands that she pressed flat against her thighs. "I know you think in contingencies and exit strategies. I know you don't ask people to stay because asking implies wanting, and wanting implies vulnerability, and vulnerability is a liability in your world. I know all of that, Luc. I knew it when it started. So I left before I became another thing you'd have to manage." He stared at her. For once, the composed, calculating information broker had nothing prepared. She could see him reaching for his usual arsenal, the deflection and wit and elegant misdirection, and finding nothing that fit. "You are," he said quietly, "the most infuriating woman I have ever met." "Likewise." "And you are currently standing in your own flat telling me what I was thinking, what I was *feeling*, with the confidence of someone who has never once been wrong about another human being in her entire life." "Have I been wrong?" "You—" He exhaled sharply, this frustrated sound that she filed away under *interesting*. "I was going to ask you to stay. The following week. I had dinner reservations. A venue. A bloody *speech*, Aurora. Do you understand? I don't write speeches. I employ people to write speeches for me. I sat in my study at two in the morning writing and rewriting what I wanted to say to you because I couldn't delegate it, and you—" He didn't finish. He pressed the handle of his cane hard into the floor and looked away, jaw working. Rory's throat had closed completely. "When?" "What?" "When were you going to ask me. When." "Saturday. The seventeenth. There's a restaurant in Notting Hill that serves the only cassoulet in London worth eating, and I thought, if we're going to do this, we're doing it properly." He laughed, but it was hollow, scraped out of somewhere painful. "You left on the fourteenth. You couldn't have waited four days?" "I didn't know." "How could you possibly have known?" "I didn't *know*." Her voice cracked on the word. "You never said anything. You just—you kept being *there*, all the time, and I couldn't tell if it was real or if you were just—" "Just what? Being *present*?" He turned back to her, and the look on his face was devastating. "That was the only way I knew how. I don't have a script for this, Aurora. I have leverage, blackmail, four languages, and a cane that doubles as a blade. I don't have words for the things I feel around you. I never have. So I tried to show you instead, and apparently that wasn't enough, and now I'm standing in a flat that smells like a Birmingham takeaway trying to explain that I have been *miserable* for eleven weeks because you decided to make an executive decision about what I was thinking without consulting me." The curry house downstairs had gone quiet. The rain had started again, a soft percussion against the window that neither of them acknowledged. "I left a note," she said, very quietly. "I didn't just—disappear. I left the note because I couldn't say it out loud." "What did it say?" "*This was a mistake.*" "Yes, you mentioned." "It was supposed to say *this terrifies me*." She pressed her palm against her sternum, against the wild, stupid thing her heart was doing. "I rewrote it four times. I settled on the version that wouldn't make me cry while I was writing it, and then I left it on your kitchen counter, and I walked out, and I told myself it was the right thing to do because you would never have said anything and I couldn't keep pretending that what we had wasn't—" She stopped. Her eyes were burning. "Wasn't what?" His voice had gone rough. He took another step toward her. They were close enough now that she could see the faint shadow of stubble along his jaw, the slight disorder in his usually immaculate hair. He looked, for the first time since she'd known him, genuinely undone. "Lucian." "Aurora." "I'm still terrified." "I know." He reached out, very slowly, giving her time to pull away. She didn't. His fingertips brushed her jaw, feather-light, and something in her chest unknotted so violently she gasped. "I've been terrified for longer than you. Since the first night we met, when you told me my cane was pretentious and then stole my whiskey." "It was a good whiskey." "It was a twelve-hundred-pound bottle." "See? Pretentious." He laughed. This time it was real, warm and startled, and she felt it move through him where their bodies almost touched. His thumb traced the line of her cheekbone, and she leaned into the touch without meaning to, a surrender so small and so complete that it terrified her all over again. "I'm not writing any more notes," she said. "Good." "I don't know how to do this without an exit strategy." "Neither do I." His forehead dropped to hers, and for a long moment they just stood there, breathing each other's air in her cramped, cumin-scented flat, with the rain and the cat and three months of silence finally, finally breaking. "We'll have to improvise." "Horribly?" "Catastrophically." "Lucian." "Hmm?" "Shut up and kiss me before I change my mind." He didn't need to be told twice.
created_at"2026-03-18T22:27:12.233Z" 3/18/2026, 10:27:12 PM
model"minimax/minimax-m2.7-20260318"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency918
moderation_latency(null)
generation_time87568
tokens_prompt4556
tokens_completion3757
native_tokens_prompt4036
native_tokens_completion3056
native_tokens_completion_images(null)
native_tokens_reasoning331
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"
usage0.004878
router(null)
provider_responses
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endpoint_id"471cf4ea-3548-4dd7-9f86-8c0f9c21d3ca"
id"060a59c03b5ad6935e2f0c17fa89171d"
is_byokfalse
latency918
model_permaslug"minimax/minimax-m2.7-20260318"
provider_name"Minimax"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
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total_cost0.004878
cache_discount(null)
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provider_name"Minimax"

Evaluation details

Result Evaluator Details Meta Data
88.89% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags28
adverbTagCount5
adverbTags
0"she said again [again]"
1"she said carefully [carefully]"
2"he said quietly [quietly]"
3"He exhaled sharply [sharply]"
4"He turned back [back]"
dialogueSentences90
tagDensity0.311
leniency0.622
rawRatio0.179
effectiveRatio0.111
65.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2183
totalAiIsmAdverbs15
found
0
adverb"precisely"
count1
1
adverb"very"
count5
2
adverb"slightly"
count1
3
adverb"carefully"
count2
4
adverb"gently"
count1
5
adverb"suddenly"
count1
6
adverb"deliberately"
count1
7
adverb"sharply"
count1
8
adverb"completely"
count1
9
adverb"slowly"
count1
highlights
0"precisely"
1"very"
2"slightly"
3"carefully"
4"gently"
5"suddenly"
6"deliberately"
7"sharply"
8"completely"
9"slowly"
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)
65.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2183
totalAiIsms15
found
0
word"comforting"
count1
1
word"intensity"
count1
2
word"stomach"
count1
3
word"flickered"
count1
4
word"warmth"
count2
5
word"silence"
count3
6
word"flicked"
count1
7
word"eyebrow"
count1
8
word"flicker"
count1
9
word"weight"
count1
10
word"calculating"
count1
11
word"traced"
count1
highlights
0"comforting"
1"intensity"
2"stomach"
3"flickered"
4"warmth"
5"silence"
6"flicked"
7"eyebrow"
8"flicker"
9"weight"
10"calculating"
11"traced"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences113
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences113
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences175
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen96
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans13
markdownWords30
totalWords2181
ratio0.014
matches
0"Shit."
1"I've thought about you more than I've admitted to anyone"
2"persistent"
3"This was a mistake."
4"feeling"
5"interesting"
6"speech"
7"know"
8"there"
9"present"
10"miserable"
11"This was a mistake."
12"this terrifies me"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions31
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1352
uniqueNames12
maxNameDensity0.37
worstName"Ptolemy"
maxWindowNameDensity1.5
worstWindowName"Lucian"
discoveredNames
Blackstone1
Ptolemy5
Eva2
Moreau1
London1
Soft1
Mayfair1
Lucian4
Close1
Silence1
Started1
Rory3
persons
0"Blackstone"
1"Ptolemy"
2"Eva"
3"Moreau"
4"Lucian"
5"Rory"
places
0"London"
1"Mayfair"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount1
matches
0"urry situation visibly registered on his f"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2181
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences175
matches
0"hated that he"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs92
mean23.71
std27.44
cv1.157
sampleLengths
013
153
290
34
46
5106
633
71
856
914
1045
111
121
131
1434
1514
1645
1733
187
195
201
2190
2216
233
2479
2513
2626
2710
2819
292
3058
3117
325
332
342
3554
3618
3724
3856
3924
4054
414
4252
4310
447
4545
4612
476
485
4986
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences113
matches(empty)
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount8
totalVerbs239
matches
0"was acting"
1"was standing"
2"was somewhat satisfying"
3"was doing"
4"was closing"
5"was shaking"
6"was doing"
7"were burning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences175
ratio0
matches(empty)
67.32% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1361
adjectiveStacks0
stackExamples(empty)
adverbCount95
adverbRatio0.06980161645848641
lyAdverbCount38
lyAdverbRatio0.027920646583394562
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences175
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences175
mean12.46
std13.52
cv1.085
sampleLengths
06
17
217
32
41
55
628
735
826
929
104
116
1235
1319
147
1517
1628
1713
181
191
2013
215
221
234
243
2549
266
278
284
294
3037
311
321
331
3425
359
3614
373
384
3922
4016
4116
423
431
4413
457
465
471
4818
4939
61.33% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.4057142857142857
totalSentences175
uniqueOpeners71
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences97
matches
0"Genuinely considered it."
1"Just enough to fill the"
2"More like the moment before"
3"Somewhere below them, the curry"
ratio0.041
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences97
matches
0"He sent Ptolemy up with"
1"She crossed the living room"
2"She checked the peephole."
3"Her stomach dropped through the"
4"His charcoal suit looked immaculate,"
5"His voice carried the same"
6"She considered not answering."
7"She opened the door."
8"He tilted his head slightly,"
9"His mouth twitched."
10"She was fairly certain she"
11"He produced a slim phone"
12"He said it gently, almost"
13"She hated that he was"
14"She hated it more that"
15"She stepped aside."
16"He said nothing, merely surveyed"
17"she said again, to both"
18"He turned to face her,"
19"He had a way of"
ratio0.567
32.16% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount83
totalSentences97
matches
0"The knock came at half"
1"Rory set down the copy"
2"Silas never knocked after dark."
3"He sent Ptolemy up with"
4"She crossed the living room"
5"The flat above the curry"
6"Ptolemy watched from the arm"
7"She checked the peephole."
8"Her stomach dropped through the"
9"Lucien Moreau stood in the"
10"The corridor light buzzed and"
11"His charcoal suit looked immaculate,"
12"The man could attend a"
13"His voice carried the same"
14"French-inflected in a way that"
15"She considered not answering."
16"She opened the door."
17"He tilted his head slightly,"
18"His mouth twitched."
19"Lucien's smiles were rare, carefully"
ratio0.856
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount3
matches
0"She crossed the living room in bare feet, her phone still warm in her hand where she'd been scrolling through Eva's messages about some lead on a sigil that mig…"
1"Three seconds of silence where she could pretend nobody was home and he would have to leave and she could go back to her pointless reading and her cold tea and …"
2"He had a way of occupying space that defied the physical laws of square footage, this quiet gravity that pulled every conversation toward him like a stone dropp…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags28
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"he added (add)"
1"He laughed (laugh)"
2"She pressed (press)"
dialogueSentences90
tagDensity0.111
leniency0.222
rawRatio0.3
effectiveRatio0.067
82.4278%