Run: 2026-03-25-01KMJ84SBFERKYJBSNY109DYEH

Run Details

Duration:
40.2s
Cost:
$0.002111
Provider:
Alibaba

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The gate had been locked when she arrived. Rory tugged the rusted chain again, fingertips grazing the jagged edge of the crescent scar on her wrist. The pendant in her palm throbbed, a heat that seeped through her skin and into her bones, as if something buried beneath the stones knew she was here and was *amused*. She stepped back and pressed her heel against the base of the nearest oak, giving the chain a sharp yank. It snapped loose with a sound like a jaw clicking shut. The clearing ahead didn’t smell like autumn. No smoke from chimneys or damp leaves—just copper and rot, the same stink that clung to Silas’s bar after three bottles of whiskey and a body found beneath the floorboards. Wildflowers curled over her boots, petals the violet of bruises but blooming fresh as if some god had pressed them into the soil last Tuesday. She reached for the lantern strap on her belt, then stopped. Light would draw attention. The kind of attention that left scars not even Yu-Fei’s chicken tikka masala could soothe. A whisper skittered through the trees. Not wind, not animal—*lips parting, teeth clicking*. She spun. Nothing under the lattice of branches. Only the standing stones, their carvings leeching into her vision. She blinked. The runes had shifted. *Now. Now. Now.* They hissed in her head, not her ears. Her grip tightened on the pendant. The silver chain dug into her palm, cold cutting against the gem’s fever. She moved forward. The ground gave under her boots, moss and roots yielding like lung tissue. Somewhere ahead, a giggle. High, like a child’s, but wet, like something drowning. "Identify yourself," she said. The syllables hung midair, stretched thin as if the world itself were eavesdropping. Her voice came back from the trees, frayed and too close. A fox emerged, or something fox-like, though its tail split into fingers and its eyes were polished marbles the same bright blue as hers. It tilted its head. A human shape loomed behind it, too tall for a man, too still for the living. The garment it wore shimmered, but the material—*was it linen? Silk? Something that dissolved and reformed as she watched?*—dripped through itself like liquid fire. "Looking for a gate." Rory’s words felt wrong in her mouth, as though the roots beneath her were leaching truth out of her tongue. "It’s not locked from this side." The thing behind the fox laughed. The sound made her teeth ache. "Locked?" The voice was a woman’s, but with the rasp of bark. "No locks here. Only invitations." Rory stepped back. Her heel caught on a root, and she righted herself before the pendant could hum a warning. The fox crept closer now, its head swivelling to mimic her gaze as she kept her eyes fixed on the tall outline. "You know who I am," she said. It was a guess. The Fae didn’t bargain without knowing what they held. "Oh, I know you." The thing smiled. The gaps between its teeth were too wide. "Barrister’s daughter. Scar on the wrist. Likes her coffee black and her secrets heavier." A clawed finger flicked towards the restaurant where she worked, though it couldn’t have known her route. "You linger near the gate. Curious about what leaks." The pendant flared. Crimson swallowed the gemstone whole. Rory yanked her hand back as though burned, but the light clung to her skin, painting her in blood. "I was told this place heals," she said. The lie felt brittle, but the thing only nodded, inviting her to keep lying. "The Grove gives what it will," it said. "Never what it’s asked." The fox let out a sound halfway between a yawn and a snarl, its teeth elongating. A flicker. Rory caught it out of her periphery—something *else* moving beyond the trees. A figure in a police coat. Her chest tightened. No London constable would step off the trail that led nowhere, not even Silas’s trail of ale and bad decisions. Unless they were chasing her. She’d avoided the coppers since Evan took a knife to the throat and blamed her. "Help me, then." She forced the words out too fast. "I need to cross safely. No tricks." The tall thing bared its teeth. "Rules mean little here." It gestured to the chain in her hand, now dissolving like sugar in rain. "An hour in, days out. That’s your clock. Not mine." It stepped back, roots knitting into its shins like skin. "If the path draws you, walk it. If the path bites, run. You’re good at running." The fox darted past her, claws sinking into the bark of a tree. It *screamed* at the roots. A face split the trunk—eyes, teeth. More laughs. Rory turned, boots slipping on the moss, and ran. The pavement outside the restaurant had been warm with traffic fumes and steam from drains, but the grove’s air thickened around her, each breath like wading through honey. She slammed a hand into the nearest stone, searching for purchase. No carvings. No runes. Just bark that crumbled like sugar cubes in her palm. "Oi." A gravelly voice. She froze. Not Fae. A man, his silhouette half-blurred by the glow of her pendant. He leaned against another stone, this one whole. His face was familiar, but the angle was wrong, the skin too smooth. Too alive. "Looking for the way out?" He nodded to the path behind her. "Not that way. The trees close quick. You’re not..." He hesitated. "...usually here this late. Silas keep you?" Rory’s pulse stuttered. He wore a scarf she’d never seen, but the outline of his body—*too hunched, too thin*—matched the man who lived under her flat. The man who always asked for extra-strength painkillers and never paid in cash. "Silas sent me to deliver a message." Her own voice startled her. A lie. Evan’s face flashed in her mind—*the way he’d flinch when she touched him, as if her hands were spiders*. She shoved the thought down. "Where’s your flat?" The man’s jaw twitched. "Not this game. You’ve played enough." The pendant flared hotter. Its glow splintered the air between them, and for a heartbeat, the man’s scarf slithered, scales glinting beneath the wool. Rory’s fingers closed around the knife in her boot, a steak knife Silas’d given her for "protection." "Message for you, then." She let the blade bite her thumb, enough to bleed. Evan had loved the control of that. "Tell the others the delivery’s delayed." The man snorted. "Others? You think they all wait for you?" He stepped side, and the roots beneath him *twisted*. "Try again, human." She sprinted, ignoring the throb of her wrist. The knife’s point dug into the scar, and pain burned clean through Evan’s ghost. Twigs snapped ahead. Not her. Not the man. She rounded a tree and stumbled onto a path she didn’t remember. The stones here were smooth, worn by more than wind. A trail of footprints led forward—her own, except they were too deep, too fresh. The one at the end of the trail turned slowly, mirror-glass eyes catching the light of her pendant. "Rory, Rory, Rory." The figure wore her jacket—*bright red, with the collar turned down*—but the buttons were wrong, pressed not for warmth but to trap something inside. "You should’ve stayed upstairs." Evan. Not Evan. His face was there, but pulled tight over bone like a mask. His fingers grazed her arm as she passed, and she shivered. Not touch. *Pressure*. A memory surfaced: Evan’s breath hot against her ear, his hand crushing her wrist until she bled. The pendant cracked. She spun, knife raised. "You’re not real." He smiled. The mouth moved too slowly. "None of this is." The wind caught his scarf, which had returned. Inside it, something writhed. The scarf’s edge dissolved again, revealing a pattern of scars across his neck, all the same crescent shape. "You took my scar." The words were low, not sharp. "Takes what takes me." He gestured through the trees. "They like the taste of your kind." The giggling started, rising from all directions. Rory slashed at the figure, but the blade passed through his side as if cutting smoke. The fox’s face appeared in the moss beneath his feet, wide-eyed and grinning. A new sound. A creak. She turned. The trees had fused, branches knitting overhead into a dome. And somewhere beneath them, a door. Oak and iron, but no lock. "You can’t—" Evan—*not Evan*—grabbed her wrist. His hand was heavy, warm, *scented like spearmint and blood*. She drove the steak knife up, but it bent against his thumb. "Rules again." He leaned close, breath cool. "The Grove gives what it wants. You’ll owe." The door swung open. Inside, the air smelled like crushed strawberries and wet earth. A chandelier of thorns and bone dangled overhead, dripping something that glittered like sugar. The floor was carpeted in moss, and in its centre, a woman sat with her back to the door. Rory didn’t need to see the face to know. The silver chain around the woman’s neck was the same as her pendant, but the gemstone was absent. A jagged slit stared up at her instead. "Malphora’s here," the woman hissed without turning. Her fingers twitched, and a spool of thread uncoiled from her sleeve. The thread was red, thick as arteries. "Malphora’s not a Fae name." Rory’s boots sank into the moss. Evan’s figure had melted into shadow behind her, but the door had vanished. "It’s a—" "Alias." The woman cut her off. The thread now curled around her ankle. "The gatekeeper gives you names like that. To soften the edge." She laughed. A wet sound. "The true ones are more... precise." Rory’s blade trembled. "What do you want?" The chair the woman sat in creaked. It groaned. "You’ve been borrowing." A flick of her wrist sent the thread slithering up Rory’s leg. "Taking time. Taking keys." The thread found her ankle, and her scar pulsed. "I’ll take back what’s mine." The door slammed shut. Rory lunged for the wall, but the thread yanked her leg, snapping her to the ground. The woman turned. Her face was a mosaic of shifting skin, but Rory glimpsed her own features beneath—*until the eyes emerged, black with slit pupils*. "Malphora." Rory spat the name. "Who are you really?" The woman’s laugh became a gurgle. "You think you know?" A thorn from the chandelier pierced Rory’s shoulder, pain sudden and clean. Blood bloomed beneath her collar, the scent sharp. The woman leaned forward. "You were the one who found the pendant in the river. The one who wore it. The one who—" A roar split the air. The steak knife in Rory’s hand *shrieked* as it dissolved into liquid metal, pooling onto the floor around her fingers. The woman stood now, thread retreating. "Your turn." Rory pressed herself into the corner. "You’ve given me enough." The Fae figure Evan-was-but-wasn’t stepped through the door. His scarf flowed freely now, and the scars beneath it had multiplied. Malphora hissed something in a language that tasted like copper on Rory’s tongue. The woman’s throat moved, swallowing the thread. The chair creaked. Then the floor beneath Rory gave. The fall wasn’t downward. It was *in*. Roots peeled apart into tunnels, her scream catching on the jagged bark. She hit stone, hard. A hand grabbed her wrist. Malphora’s. Or someone’s. The scar on this hand was glowing. "You brought her." Evan’s voice echoed down the passage. "And you let her in." Malphora’s eyes sharpened. "Rules are broken both ways." The tunnel narrowed. Rory’s fingers found something—*a door, again*. Smaller. The kind that might fit a child. Or a heart. "Stop." Malphora’s voice dropped. "She’s not theirs yet." "Too late," Evan said. The tunnel darkened. Rory kicked herself loose, her boot splintering against the walls. The silver chain around Malphora’s neck was *moving*. The slit where the gemstone should’ve been oozed black liquid. "Who are you?" Rory’s voice sounded small. Malphora touched her chest. "The one who walks the line." A pause. "The one who wears the name you carry." The pendant in Rory’s palm *screamed*. The door cracked open. Light spilled out, not from the world above but something else. A voice beyond it—Silas’s, but higher, brittle. "Rory." His word was a hiss. "Don’t." She stepped back. Malphora’s hand closed around her throat. The door slammed shut. A heartbeat later, it was gone. Her hands flew to the pendant, the metal now slick with黏液. It pulsed faintly, no longer warm. The thread around her ankle was gone, replaced by something *pulsing beneath the skin*, a stitch that hadn’t been there before. The tunnel walls closed in. A breath of Evan’s cologne—*spearmint and copper*—brushed past her. "Time’s up," he said. A snap. A tear. The ground beneath her split again. This time, she didn’t fall. Her foot met the edge of the standing stone. The one outside. The one with the gate locked by a chain now whole. The one with the fox watching from a tree. Rory stood on the threshold, her breath fogged and sharp with fear. The pendant dangled lifeless, and behind her, the tunnel mouth had sealed. Only a heartbeat in the moss, only a stain on her shirt. She turned to run. The fox’s giggle followed her.
created_at"2026-03-25T10:20:18.676Z" 3/25/2026, 10:20:18 AM
model"qwen/qwen3-32b-04-28"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency772
moderation_latency(null)
generation_time40142
tokens_prompt4583
tokens_completion4546
native_tokens_prompt4143
native_tokens_completion4039
native_tokens_completion_images(null)
native_tokens_reasoning828
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"
usage0.002111096
router(null)
provider_responses
0
endpoint_id"344ccdcc-6e59-464d-89ab-8e5b92fe2adc"
id"chatcmpl-e635271a-362b-94d8-9156-d7cb88fd61db"
is_byokfalse
latency772
model_permaslug"qwen/qwen3-32b-04-28"
provider_name"Alibaba"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1774434018-0KoXakrHdVY9OEGTOpnA"
upstream_id"chatcmpl-e635271a-362b-94d8-9156-d7cb88fd61db"
total_cost0.002111096
cache_discount(null)
upstream_inference_cost0
provider_name"Alibaba"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags36
adverbTagCount2
adverbTags
0"It stepped back [back]"
1"Rory’s fingers closed around [around]"
dialogueSentences67
tagDensity0.537
leniency1
rawRatio0.056
effectiveRatio0.056
93.26% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2226
totalAiIsmAdverbs3
found
0
adverb"slowly"
count2
1
adverb"really"
count1
highlights
0"slowly"
1"really"
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)
61.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2226
totalAiIsms17
found
0
word"throbbed"
count1
1
word"whisper"
count1
2
word"loomed"
count1
3
word"shimmered"
count1
4
word"silk"
count1
5
word"flicked"
count1
6
word"flicker"
count1
7
word"familiar"
count1
8
word"pulse"
count1
9
word"glinting"
count1
10
word"throb"
count1
11
word"warmth"
count1
12
word"trembled"
count1
13
word"pulsed"
count2
14
word"mosaic"
count1
15
word"echoed"
count1
highlights
0"throbbed"
1"whisper"
2"loomed"
3"shimmered"
4"silk"
5"flicked"
6"flicker"
7"familiar"
8"pulse"
9"glinting"
10"throb"
11"warmth"
12"trembled"
13"pulsed"
14"mosaic"
15"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
emotionTells1
narrationSentences232
matches
0"p with fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences232
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences258
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen31
ratio0.004
matches
0"Her hands flew to the pendant, the metal now slick with黏液."
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans21
markdownWords78
totalWords2221
ratio0.035
matches
0"amused"
1"lips parting, teeth clicking"
2"Now. Now. Now."
3"was it linen? Silk? Something that dissolved and reformed as she watched?"
4"else"
5"screamed"
6"too hunched, too thin"
7"the way he’d flinch when she touched him, as if her hands were spiders"
8"twisted"
9"bright red, with the collar turned down"
10"Pressure"
11"not Evan"
12"scented like spearmint and blood"
13"until the eyes emerged, black with slit pupils"
14"shrieked"
15"in"
16"a door, again"
17"moving"
18"screamed"
19"pulsing beneath the skin"
20"spearmint and copper"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions59
wordCount1896
uniqueNames10
maxNameDensity1.37
worstName"Rory"
maxWindowNameDensity5
worstWindowName"Rory"
discoveredNames
Silas4
Tuesday1
Yu-Fei1
Rory26
Fae3
London1
Evan14
Blood1
Evan-was-but-wasn1
Malphora7
persons
0"Silas"
1"Yu-Fei"
2"Rory"
3"Fae"
4"Evan"
5"Malphora"
places(empty)
globalScore0.814
windowScore0
94.44% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences135
glossingSentenceCount3
matches
0"as if cutting smoke"
1"smelled like crushed strawberries and wet"
2"tasted like copper on Rory’s tongue"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.9
wordCount2221
matches
0"not for warmth but to trap something inside"
1"not from the world above but something else"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences258
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs88
mean25.24
std20.46
cv0.811
sampleLengths
088
192
267
329
428
568
630
729
862
955
1049
1128
1263
1317
1460
1535
1653
174
1838
1930
2039
2141
2210
2341
2427
2523
2622
278
2854
2931
3046
313
327
3341
3410
3516
3636
375
3824
392
4026
4115
424
4343
4435
4526
4626
4735
487
4942
96.19% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences232
matches
0"been locked"
1"was *amused"
2"was carpeted"
3"been oozed"
4"was gone"
5"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs330
matches
0"were eavesdropping"
1"were leaching"
2"were chasing"
3"was glowing"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount19
semicolonCount0
flaggedSentences15
totalSentences258
ratio0.058
matches
0"No smoke from chimneys or damp leaves—just copper and rot, the same stink that clung to Silas’s bar after three bottles of whiskey and a body found beneath the floorboards."
1"Not wind, not animal—*lips parting, teeth clicking*."
2"The garment it wore shimmered, but the material—*was it linen?"
3"Something that dissolved and reformed as she watched?*—dripped through itself like liquid fire."
4"Rory caught it out of her periphery—something *else* moving beyond the trees."
5"A face split the trunk—eyes, teeth."
6"He wore a scarf she’d never seen, but the outline of his body—*too hunched, too thin*—matched the man who lived under her flat."
7"Evan’s face flashed in her mind—*the way he’d flinch when she touched him, as if her hands were spiders*."
8"A trail of footprints led forward—her own, except they were too deep, too fresh."
9"\"Rory, Rory, Rory.\" The figure wore her jacket—*bright red, with the collar turned down*—but the buttons were wrong, pressed not for warmth but to trap something inside."
10"Evan—*not Evan*—grabbed her wrist."
11"Her face was a mosaic of shifting skin, but Rory glimpsed her own features beneath—*until the eyes emerged, black with slit pupils*."
12"Rory’s fingers found something—*a door, again*."
13"A voice beyond it—Silas’s, but higher, brittle."
14"A breath of Evan’s cologne—*spearmint and copper*—brushed past her."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1909
adjectiveStacks0
stackExamples(empty)
adverbCount55
adverbRatio0.028810895756940808
lyAdverbCount9
lyAdverbRatio0.004714510214772132
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences258
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences258
mean8.61
std6.15
cv0.714
sampleLengths
08
118
231
320
411
57
630
725
811
94
1015
116
127
132
146
1510
162
174
181
191
209
216
2213
233
2413
254
269
274
2813
2911
3024
314
3216
3310
341
3513
3624
376
386
396
4012
415
423
4317
4422
457
464
479
487
498
42.25% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.26744186046511625
totalSentences258
uniqueOpeners69
85.03% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences196
matches
0"Only the standing stones, their"
1"Somewhere ahead, a giggle."
2"Just bark that crumbled like"
3"Then the floor beneath Rory"
4"Only a heartbeat in the"
ratio0.026
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences196
matches
0"She stepped back and pressed"
1"It snapped loose with a"
2"She reached for the lantern"
3"Her grip tightened on the"
4"She moved forward."
5"Her voice came back from"
6"It tilted its head."
7"Her heel caught on a"
8"It was a guess."
9"Her chest tightened."
10"She’d avoided the coppers since"
11"She forced the words out"
12"It gestured to the chain"
13"It stepped back, roots knitting"
14"It *screamed* at the roots."
15"She slammed a hand into"
16"He leaned against another stone,"
17"His face was familiar, but"
18"He nodded to the path"
19"He wore a scarf she’d"
ratio0.23
0.82% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount180
totalSentences196
matches
0"The gate had been locked"
1"Rory tugged the rusted chain"
2"The pendant in her palm"
3"She stepped back and pressed"
4"It snapped loose with a"
5"The clearing ahead didn’t smell"
6"Wildflowers curled over her boots,"
7"She reached for the lantern"
8"Light would draw attention."
9"The kind of attention that"
10"A whisper skittered through the"
11"Nothing under the lattice of"
12"The runes had shifted."
13"Her grip tightened on the"
14"The silver chain dug into"
15"She moved forward."
16"The ground gave under her"
17"The syllables hung midair, stretched"
18"Her voice came back from"
19"A fox emerged, or something"
ratio0.918
25.51% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences196
matches
0"Now.* They hissed in her"
ratio0.005
52.31% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences71
technicalSentenceCount9
matches
0"No smoke from chimneys or damp leaves—just copper and rot, the same stink that clung to Silas’s bar after three bottles of whiskey and a body found beneath the …"
1"Wildflowers curled over her boots, petals the violet of bruises but blooming fresh as if some god had pressed them into the soil last Tuesday."
2"The syllables hung midair, stretched thin as if the world itself were eavesdropping."
3"Something that dissolved and reformed as she watched?*—dripped through itself like liquid fire."
4"Rory yanked her hand back as though burned, but the light clung to her skin, painting her in blood."
5"He wore a scarf she’d never seen, but the outline of his body—*too hunched, too thin*—matched the man who lived under her flat."
6"Evan’s face flashed in her mind—*the way he’d flinch when she touched him, as if her hands were spiders*."
7"A chandelier of thorns and bone dangled overhead, dripping something that glittered like sugar."
8"Malphora hissed something in a language that tasted like copper on Rory’s tongue."
83.33% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags36
uselessAdditionCount3
matches
0"Rory’s words felt, as though the roots beneath her were leaching truth out of her tongue"
1"The fox let out, its teeth elongating"
2"She let, enough to bleed"
90.30% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount4
fancyTags
0"the woman hissed (hiss)"
1"She laughed (laugh)"
2"Rory spat (spit)"
3"Rory pressed (press)"
dialogueSentences67
tagDensity0.149
leniency0.299
rawRatio0.4
effectiveRatio0.119
80.8421%