Run: 2026-04-24-01KQ03HBRF5BFXKWV3XYX4FHF6

Run Details

Duration:
28.3s
Cost:
$0.006635
Provider:
Xiaomi

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <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> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The Heartstone Pendant grew warm against Aurora’s skin. Not the gentle warmth of a body’s heat, but a slow, insistent thrum, like a second heartbeat trying to sync with her own. She stopped at the edge of the ancient oak ring, her fingers brushing the silver chain through her shirt. “Something’s wrong.” Her voice was a hush. The air here was thick, smelling of crushed herbs and something else, something metallic and sweet like old blood. The wildflowers that carpeted the clearing between the stones shouldn’t have been blooming in November. They were too vivid, their colours almost aggressive: a crimson that clotted the eye, a violet that pulsed. Nyx flowed to her side, their form a solid slash of darkness against the twilight. They didn’t walk so much as coalesce from one patch of shadow to another. “The air tastes of sugar and rot,” they whispered, the soundless voice forming directly in Rory’s mind. “A gilded cage. We are at the threshold of Dymas.” Isolde moved ahead of them, her bare feet leaving no impression on the mossy earth. The pale lavender of her eyes caught the last of the daylight filtering through the canopy, making her gaze luminous. She paused beside the largest oak, its bark whorled into patterns that looked unnervingly like sleeping faces. “The hunger of Gluttony,” Isolde said, her voice a melodic riddle, “feeds not the belly, but the hollow space between ribs. It offers a feast that leaves the soul gaunt.” She turned, her silver hair a stark banner in the gloaming. “The Prince of this realm is a patient gardener. He plants seeds of desire and harvests despair.” Rory took a step forward, and the world tilted. The amber light of a distant, unseen sky bled into the edges of her vision. The pendant flared with heat. She wasn’t looking at Richmond Park anymore. The oaks were still there, but their branches now dripped with luminous, golden sap that pattered onto the ground with thick, wet sounds. Vines heavy with grape-like clusters, each one the size of her fist, coiled around the trunks. The air thickened, the scent of wine and overripe fruit becoming cloying, coating her tongue. “Time moves strangely here,” Nyx cautioned, their shadowy form seeming to drink in the new, amber light. “What feels like an hour could be a day outside. Or a minute.” “We don’t have the luxury of time,” Rory muttered, her fingers tracing the hard edge of the Fae-forged blade concealed in her jacket. Its constant cold was a grounding counterpoint to the pendant’s feverish pulse. She looked to Isolde. “How do we find the source? The rift?” Isolde smiled, a faint, knowing curve of her lips that held no humour. “You follow the thread of your own longing. It will lead you to the loom.” She began to walk, not towards the centre of the Grove, but towards one of the oaks where the golden sap pooled the thickest. As Rory followed, the ground beneath her boots softened. The moss gave way to spongy, fungal growth that glowed with a faint bioluminescence, illuminating a path of swirling blues and greens. She could hear music, a low, seductive thrumming like a great cello played in another chamber. The melody promised warmth, satiation, an end to all striving. For a dizzying moment, she thought of her flat above Silas’s bar, of the safety in its small, familiar dimensions, and the longing was a physical ache. Then she saw the trees ahead were not bearing fruit. From the low-hanging boughs of a particularly gnarled oak, something hung. Not grapes. They were plump, perfectly shaped pears, each a flawless gold. And they were weeping. A thin, syrupy trickle of amber liquid oozed from their stems, dripping steadily onto the ground where it pooled and swarmed with fat, jewel-bright beetles. The beetles weren’t eating the liquid. They were drinking it, their carapaces shimmering as they swelled. “Don’t look too long,” Nyx advised, their voice a cold draft against her ear. “The sights here are designed to hook. The first bite is always sweet.” Isolde stood before the weeping pear tree, her hand raised but not touching the fruit. “This is the Orchard of First Regret. Each fruit holds the memory of a pleasure indulged in at too great a cost. A taste, and you’ll feel the echo of your own hollow bargains.” Rory tore her gaze away. Her eyes scanned the Grove, and the wonder curdled into unease. What had seemed like a wild, magical glade was revealing its architecture. Between the oaks, thin filaments of silvery web stretched, glistening with dew. They weren’t spider silk; they were too rigid, catching the amber light and refracting it into fractured rainbows that danced across the forest floor. The music was louder here, the thrumming deepening until she felt it in her sternum. Ahead, the oaks parted into a wider clearing. In its centre, a fountain bubbled. Not with water, but with a thick, viscous liquid the colour of dark honey. The air above it shimmered with heat. Around its stone rim, set into niches, were goblets of bone and crystal, overflowing with the same liquid. The scent was intoxicating, a complex bouquet of roasted chestnuts, spiced wine, and something warmer, more intimate. “The Well of Want,” Isolde announced, stopping at a respectful distance. “Drink from it, and you will know true satisfaction. For a moment. The price is that you will then know the true depth of your dissatisfaction with everything else.” Rory’s throat felt dry. The pendant was almost burning now, a steady, insistent heat over her heart. She looked into the dark, swirling liquid of the Well and saw, for a heartbeat, not her own reflection, but her father’s study. Leather-bound books, the scent of old paper and whiskey. Safety. Permanence. The life she’d fled. “Rory.” Nyx’s whisper was sharp, cutting through the hypnotic thrum. They were pointing a long, shadowy finger towards the far side of the Well. Past the fountain, the Grove’s opulence decayed. The golden light dimmed to a bruised purple. The vibrant wildflowers here were wilted, their petals slimy and collapsing. The ground was littered with the detritus of a feast: cracked plates, gnawed bones, wine goblets smashed and trampled. The music here was discordant, a strained, discordant wailing beneath the seductive thrum. And there, in the mulch and the ruin, was the rift. It wasn’t a tear or a shimmering membrane. It was a door. A grand, arching portal made of dark, polished wood, inlaid with mother-of-pearl in patterns that seemed to writhe when viewed directly. It stood impossibly in the middle of the clearing, attached to nothing, its frame carved with images of blooming vines that gave way to screaming, emaciated faces. The air around it was frigid, a pocket of winter in the humid Grove, and it hummed with a power that made Rory’s teeth ache. The Heartstone Pendant gave one final, searing pulse against her skin, as if trying to jump from her body and fly to the door. “The entrance to the Prince’s table,” Isolde said, her voice suddenly devoid of its riddling cadence. It was flat, factual. “The path you seek lies beyond it. But be warned, Rory Carter. To cross that threshold is to enter a realm where your deepest desire is the currency, and the cost is always more than you can afford.” Nyx solidified beside Rory, their shadowy form coalescing until a suggestion of a hand rested on her shoulder. It was cold, but not unpleasantly so. “The shadows are thin there,” they murmured. “I can move. But you… you are solid. You are meat. You are exactly what his chefs are always looking for.” The great wooden door stood silent, waiting. The humming from its frame deepened, a promise and a threat. Rory reached up and pulled the pendant from beneath her shirt. The crimson gem glowed with a dark, inner light, its pulse now perfectly synced with the thrumming of the door. It wasn’t just warm anymore. It was hot. And it was pulling, ever so gently, towards the portal. She took a breath, the cloying sweetness of the Orchard and the heavy perfume of the Well filling her lungs. Then she looked at the carved door, at the faces caught in the wood’s eternal, silent scream. The blade in her jacket was a line of ice against her ribs. The decision was not a choice, but an inevitability. She took the first step towards the door. The handle was cold iron, shaped like a coiled serpent. As her fingers closed around it, the entire Grove seemed to hold its breath. The music stopped. The weeping of the pears ceased. The only sound was the frantic, hot pulse of the Heartstone against her palm and the distant, hungry hum of the door. She turned the handle. It gave way with a soft, oiled click that echoed with the finality of a lock turning on a tomb. The door swung inward, not into darkness, but into a light of overwhelming, golden brilliance, and a wave of heat washed over them, carrying the rich, impossible aromas of a thousand feasts.
created_at"2026-04-24T16:00:33.574Z" 4/24/2026, 4:00:33 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency966
moderation_latency(null)
generation_time28167
tokens_prompt5338
tokens_completion2674
native_tokens_prompt4947
native_tokens_completion2328
native_tokens_completion_images(null)
native_tokens_reasoning275
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.0066348
router(null)
provider_responses
0
endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
id"5ba939b95a334dc9afce308ef8853597"
is_byokfalse
latency902
model_permaslug"xiaomi/mimo-v2.5-20260422"
provider_name"Xiaomi"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.1; linux; x64))"
http_referer(null)
request_id"req-1777046433-G5TvPXCuqApwXiPeMGVf"
session_id(null)
api_type"completions"
id"gen-1777046433-4ZMpec70f32KUXCgh37M"
upstream_id"5ba939b95a334dc9afce308ef8853597"
total_cost0.0066348
cache_discount(null)
upstream_inference_cost0
provider_name"Xiaomi"
response_cache_source_id(null)

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences20
tagDensity0.45
leniency0.9
rawRatio0
effectiveRatio0
86.96% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1534
totalAiIsmAdverbs4
found
0
adverb"perfectly"
count2
1
adverb"suddenly"
count1
2
adverb"gently"
count1
highlights
0"perfectly"
1"suddenly"
2"gently"
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)
21.77% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1534
totalAiIsms24
found
0
word"warmth"
count2
1
word"pulsed"
count1
2
word"stark"
count1
3
word"desire"
count2
4
word"tracing"
count1
5
word"pulse"
count4
6
word"familiar"
count1
7
word"flawless"
count1
8
word"echo"
count1
9
word"scanned"
count1
10
word"glistening"
count1
11
word"silk"
count1
12
word"fractured"
count1
13
word"shimmered"
count1
14
word"crystal"
count1
15
word"complex"
count1
16
word"whisper"
count1
17
word"searing"
count1
18
word"echoed"
count1
highlights
0"warmth"
1"pulsed"
2"stark"
3"desire"
4"tracing"
5"pulse"
6"familiar"
7"flawless"
8"echo"
9"scanned"
10"glistening"
11"silk"
12"fractured"
13"shimmered"
14"crystal"
15"complex"
16"whisper"
17"searing"
18"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
narrationSentences101
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences101
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences110
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1534
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount1273
uniqueNames14
maxNameDensity0.71
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Heartstone3
Pendant2
Aurora1
November1
Rory9
Isolde7
Richmond1
Park1
Fae-forged1
Grove5
Silas1
Well3
Orchard1
Nyx5
persons
0"Pendant"
1"Aurora"
2"Rory"
3"Isolde"
4"Grove"
5"Silas"
6"Well"
7"Nyx"
places
0"November"
1"Richmond"
2"Park"
globalScore1
windowScore1
90.48% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount2
matches
0"patterns that seemed to writhe when viewed directly"
1"as if trying to jump from her body and fly to the door"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches7
per1kWords4.563
wordCount1534
matches
0"Not the gentle warmth of a body’s heat, but a slow, insistent thrum, like a second heartbeat trying to s"
1"not the belly, but the hollow space between ribs"
2"not towards the centre of the Grove, but towards one of the oaks"
3"Not with water, but with a thick, viscous liquid the colour of dark honey"
4"not her own reflection, but her father’s study"
5"not a choice, but an inevitability"
6"not into darkness, but into a light of overwhelming, golden brilliance"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences110
matches(empty)
65.82% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs29
mean52.9
std20.12
cv0.38
sampleLengths
050
159
256
352
458
590
630
747
852
984
1010
1168
1227
1349
1479
1570
1640
1755
1824
1958
2011
2185
2224
2358
2453
2567
2659
2763
2856
98.32% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences101
matches
0"were wilted"
1"was littered"
0.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount9
totalVerbs191
matches
0"wasn’t looking"
1"were not bearing"
2"were weeping"
3"weren’t eating"
4"were drinking"
5"was intoxicating"
6"was almost burning"
7"were pointing"
8"was pulling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences110
ratio0.009
matches
0"They weren’t spider silk; they were too rigid, catching the amber light and refracting it into fractured rainbows that danced across the forest floor."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1279
adjectiveStacks0
stackExamples(empty)
adverbCount36
adverbRatio0.028146989835809225
lyAdverbCount13
lyAdverbRatio0.010164190774042221
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences110
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences110
mean13.95
std8.13
cv0.583
sampleLengths
08
123
219
37
419
515
618
715
814
917
1010
1115
1220
1317
1441
1517
169
1715
185
197
2023
2116
2215
2317
2413
2523
2612
274
288
2913
3039
319
3222
3316
3410
3527
3610
3711
382
3910
404
4125
426
4310
4414
4513
4615
4734
485
4911
39.39% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.3181818181818182
totalSentences110
uniqueOpeners35
68.73% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences97
matches
0"Then she saw the trees"
1"Then she looked at the"
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences97
matches
0"She stopped at the edge"
1"Her voice was a hush"
2"They were too vivid, their"
3"They didn’t walk so much"
4"they whispered, the soundless voice"
5"She paused beside the largest"
6"She wasn’t looking at Richmond"
7"Its constant cold was a"
8"She looked to Isolde."
9"She began to walk, not"
10"She could hear music, a"
11"They were plump, perfectly shaped"
12"They were drinking it, their"
13"Her eyes scanned the Grove,"
14"They weren’t spider silk; they"
15"She looked into the dark,"
16"They were pointing a long,"
17"It wasn’t a tear or"
18"It was a door."
19"It stood impossibly in the"
ratio0.289
52.78% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount79
totalSentences97
matches
0"The Heartstone Pendant grew warm"
1"She stopped at the edge"
2"Her voice was a hush"
3"The air here was thick,"
4"The wildflowers that carpeted the"
5"They were too vivid, their"
6"Nyx flowed to her side,"
7"They didn’t walk so much"
8"they whispered, the soundless voice"
9"Isolde moved ahead of them,"
10"The pale lavender of her"
11"She paused beside the largest"
12"Isolde said, her voice a"
13"Rory took a step forward,"
14"The amber light of a"
15"The pendant flared with heat."
16"She wasn’t looking at Richmond"
17"The oaks were still there,"
18"Vines heavy with grape-like clusters,"
19"The air thickened, the scent"
ratio0.814
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
58.11% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences59
technicalSentenceCount7
matches
0"She paused beside the largest oak, its bark whorled into patterns that looked unnervingly like sleeping faces."
1"The oaks were still there, but their branches now dripped with luminous, golden sap that pattered onto the ground with thick, wet sounds."
2"The moss gave way to spongy, fungal growth that glowed with a faint bioluminescence, illuminating a path of swirling blues and greens."
3"They were drinking it, their carapaces shimmering as they swelled."
4"They weren’t spider silk; they were too rigid, catching the amber light and refracting it into fractured rainbows that danced across the forest floor."
5"A grand, arching portal made of dark, polished wood, inlaid with mother-of-pearl in patterns that seemed to writhe when viewed directly."
6"The Heartstone Pendant gave one final, searing pulse against her skin, as if trying to jump from her body and fly to the door."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount4
matches
0"they whispered, the soundless voice forming directly in Rory’s mind"
1"Isolde said, her voice a melodic riddle,"
2"Nyx advised, their voice a cold draft against her ear"
3"Isolde said, her voice suddenly devoid of its riddling cadence"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount5
fancyTags
0"they whispered (whisper)"
1"Rory muttered (mutter)"
2"Nyx advised (advise)"
3"Isolde announced (announce)"
4"they murmured (murmur)"
dialogueSentences20
tagDensity0.35
leniency0.7
rawRatio0.714
effectiveRatio0.5
72.7456%