Run: 2026-04-24-01KQ06QYJ9CXEZVKA29V8HJH3A

Run Details

Duration:
33.8s
Cost:
$0.006132
Provider:
Xiaomi

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 heel of her shoe skidded on the slick cobblestones. Quinn recovered, one hand slapping against the cold, wet brick of the alley wall for balance. Ahead, the silhouette of the suspect rounded the corner, a fleeting shape swallowed by the London night and the downpour. He’d made her the moment she’d stepped into The Raven’s Nest. The slight widening of his eyes, the careful set of his jaw before he’d turned back to his drink. Then the casual, deliberate movement toward the back. Not the toilet. The bookshelf. The hidden room. Quinn had followed, her hand resting on the worn grip of her sidearm under her jacket. The Nest was a known quantity, a low hum of conversation and clinking glasses masking other sounds. She’d seen him slip through the gap in the shelves, a flicker of movement between *Moby Dick* and a water-stained atlas. She’d given him thirty seconds, then followed. The back room was a claustrophobic knot of bodies and smoke, a clandestine meeting that evaporated the second her badge caught the dim light. Panic, sudden and sharp. A window burst open. A fire escape screamed under hasty weight. Now this. The chase. Her breath plumed in the frigid air, each gasp a small victory against the stitch in her side. Three years since Morris, since the case that had cracked something open inside her, leaving her with an unshakeable sense that the world’s seams were fraying. This suspect, this *Tomás Herrera*, was stitching into those frayed edges. Former paramedic, licence revoked for “unauthorized treatments.” The reports were vague, the witnesses evasive. But the pattern was there, a faint outline around the clique that gathered in places like The Raven’s Nest. He darted across a narrow street, a taxi horn blaring in protest. Quinn vaulted the bonnet of a parked van, landing hard on the opposite pavement. Her wristwatch, the old leather one Morris had joked was her retirement plan, dug into her wrist. Herrera was fast, his slight frame an advantage in the labyrinthine alleys behind Camden High Street. But she knew these streets. Knew the shortcuts, the dead ends. He turned sharply left, into a passage she knew led to a loading bay. A dead end. Quinn slowed her pace, drawing her weapon. The rain plastered her closely cropped hair to her scalp. The alley was a canyon of black brick, the only light a distant, sickly yellow glow from a security lamp. The air smelled of wet refuse and old grease. She advanced, each step measured, her eyes scanning the dumpsters, the fire escapes, the shadows that clung to every corner. Nothing. She reached the end of the passage, a high brick wall stained with moss. No sign of him. No fire escape ladder lowered. No dumpster piled high enough to climb. It was impossible. Her gaze swept the space again, slower this time. Her boot nudged something metal. A drain cover, larger than the standard ones, set slightly askew in the grimy pavement. Fresh scratches around its rim, glinting in the gloom. *No.* She holstered her weapon and knelt, ignoring the cold seeping through her trousers. The cover was heavy iron, but the screws were rusted through. She braced her feet, gripped the edge, and hauled. It resisted, then shifted with a grating shriek that echoed off the brick walls. A puff of stale, subterranean air hit her face, carrying the scent of damp stone, ozone, and something else. Something metallic and faintly sweet. Below was not a sewer. A set of worn stone steps descended into darkness. Quinn pulled her torch from her belt and clicked it on. The beam cut a pale wedge into the abyss, illuminating the tops of the steps, slick with moisture. It was a passage, hewn from the earth itself, older than the city above. Her training screamed *procedure. Back up. Call it in. Secure the perimeter.* But procedure hadn’t found Morris. Procedure hadn’t followed the whispers of a world bleeding into this one. Herrera was down there. And whatever he was running from, or toward, was down there too. She descended. The stone steps were uneven, worn smooth by centuries of feet. The air grew colder, thicker. Her torch beam danced over walls of rough-hewn brick, then older stone, then natural rock. The passage twisted, sloping gently downward. The sweet, metallic scent intensified, mingling with the smell of damp earth and something acrid, like old incense. After fifty metres, the tunnel opened into a wider cavern. The ceiling was lost in shadow. And there was light. A faint, diffuse glow emanated from ahead, a sickly greenish-white that pulsed weakly. Quinn doused her torch. She moved forward, one hand trailing along the damp stone wall for guidance, the other hovering near her weapon. The sound of dripping water was constant, a rhythmic counterpoint to the thud of her own heart. She rounded a final bend and stopped. The space before her was vast, a cathedral carved from darkness. And it was full of people. They moved between stalls constructed from scrap wood and draped cloth, their forms half-seen in the wavering light of lanterns and strange, glowing orbs. The air hummed with a low murmur of conversation, punctuated by the clink of glass, the hiss of something cooking over an open flame, and the occasional sharp, alien bark of a word she didn’t recognise. Stalls displayed wares that made her stomach clench: jars of viscous, luminous liquids; bundles of herbs that seemed to shift when she wasn’t looking directly at them; blades etched with symbols that hurt her eyes. The Veil Market. The whispered rumour. The myth that her superiors dismissed as fantasy born of stress and too many late nights. And there, thirty metres ahead, slipping through the crowd, was Herrera. He glanced back, his warm brown eyes locking onto hers for a fraction of a second across the impossible space. There was no fear in them now. Only a grim, weary resignation. He turned and pushed deeper into the market. Quinn’s hand tightened on her gun. This was beyond jurisdiction. Beyond training. Beyond the known world. Every instinct, honed by eighteen years of policing the streets of a city she thought she understood, shrieked at her to turn back, to climb the stairs, to call for backup that would never come to a place that didn’t officially exist. She thought of Morris, his last cryptic message. *It’s not what we thought, Harlow. None of it is.* She took a step forward. Then another. The crowd parted around her, faces turning, eyes widening at the sight of her uniform, her badge. Whispers followed in her wake, sharp and suspicious. The air felt charged, prickling against her skin. The ground beneath her feet was no longer just stone; it thrummed with a faint, deep vibration that she felt in her bones. Herrera disappeared behind a stall draped in black velvet, from which a soft, pulsing light emanated. Quinn cleared the distance, her reflection a fleeting distortion in a jar of something that looked like liquid mercury. She reached the stall and pushed aside the heavy fabric. The space behind was small, lit by a single lantern that cast long, dancing shadows. Herrera stood there, his back to her, facing another figure shrouded in a heavy cloak. A low table between them held objects she couldn’t identify. “Tomás Herrera,” Quinn said, her voice steady, loud enough to carry over the market’s murmur. “Metropolitan Police. You’re under arrest.” Herrera didn’t turn. The cloaked figure shifted slightly. “You should not have followed, Detective,” Herrera said, his voice calm. He finally looked at her, and the weary resignation was back, deeper now. “There are things here… procedures… that do not apply to your world.” “Then you shouldn’t have run from mine,” she countered, stepping into the stall, her hand moving to unclip her holster. “Turn around. Hands where I can see them.” The cloaked figure made a soft sound, a dry rustle like dead leaves. “She carries iron,” it whispered, a voice like grinding stone. “And blind certainty. A dangerous combination.” Herrera sighed. “She’s not one of them. Not yet. She’s just… persistent.” “I’m also right here,” Quinn said, her gun now in her hand, the weight familiar, grounding. “And my patience is wearing thin. Both of you. On your knees. Now.” Herrera finally turned fully to face her. In the lantern light, his scar stood out starkly against his olive skin. The Saint Christopher medallion around his neck glinted. He looked at the gun, then at her face, and something shifted in his expression. Not defeat. Calculation. “You think with that,” he nodded at the weapon, “you can impose order on this place. On what’s coming.” He took a step toward her, ignoring the gun. “Detective, you’re standing in a market that moves every full moon, selling things that would make the hard cases you lock up weep. You followed a man who can set a broken bone by touch alone into a world where the rules you know ceased to apply centuries ago.” “I’m not here for a lecture. I’m here for you. And whatever you’re mixed up in.” “And if I told you what I was mixed up in,” he said, his voice dropping, “you’d either lock me up and miss the storm gathering on your horizon, or you’d run screaming back into your nice, safe, concrete world. Either way, people get hurt. People like Morris.” The name hit her like a physical blow. Her grip on the gun tightened. “You don’t get to say his name.” “I knew him,” Herrera said, and the rawness in his voice cut through her anger. “Not well. But I was there, at the end. Not in the alley. Before. When he realized what was hunting him wasn’t human. When he realized his badge and his gun were useless.” The market sounds seemed to fade. The dripping water, the alien chatter, it all receded into a dull roar. There was only Herrera’s face, earnest and pained in the flickering light. “You’re lying.” “I am many things, Detective. A liar is not one of them. It’s why I lost my licence. I told the truth to the wrong people.” He gestured around them. “This is the other side of the coin. The side your kind refuses to see. Morris saw it. And it killed him. I’m trying to stop it from killing others.” Quinn’s mind raced, a maelstrom of procedure, protocol, and the gaping, impossible chasm of reality opening before her. Every word contradicted every report she’d filed, every truth she’d clung to. But the certainty in his eyes… it mirrored the one she saw in her own reflection on difficult mornings. “How?” The word was a rasp. Herrera looked at the cloaked figure, who gave an almost imperceptible nod. He turned back to Quinn and extended his hand. It wasn’t an offer of handshake. In his palm lay a small, smooth piece of what looked like bone, carved with intricate, swirling patterns. “A token,” he said. “To pass through the Veil unharmed. To see what’s truly there. You want to know what happened to your partner? You want to stop what’s coming? Then you have to choose, Detective. Not just between arrest and freedom. Between the world you know, and the one that’s been bleeding into it all along.” He held the token out, an impossible offering in the heart of a nightmare. Behind him, the cloaked figure watched, a silent sentinel. All around them, the supernatural market went about its business, oblivious. The rain-soaked streets, the familiar sirens, the comforting solidity of the law… it all felt a million miles away, and infinitely fragile. Quinn looked at the token, then at Herrera’s outstretched hand, then back to his eyes. The weight of her gun felt suddenly foreign, inadequate. The choice wasn’t about following a suspect anymore. It was about following a truth she’d spent three years running from. Her fingers, cold and stiff, began to uncurl from around the grip of her weapon. The decision crystallized in the heart of that impossible place, a single, terrifying step forward into a darkness far deeper than any London alley.
created_at"2026-04-24T16:56:35.162Z" 4/24/2026, 4:56:35 PM
model"xiaomi/mimo-v2.5-20260422"
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cancelledfalse
latency838
moderation_latency(null)
generation_time33626
tokens_prompt4663
tokens_completion3445
native_tokens_prompt4209
native_tokens_completion2890
native_tokens_completion_images(null)
native_tokens_reasoning237
native_tokens_cached4160
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"
usage0.0061324
router(null)
provider_responses
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endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
id"eb4adfc358884307831955482e27dc01"
is_byokfalse
latency792
model_permaslug"xiaomi/mimo-v2.5-20260422"
provider_name"Xiaomi"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount1
adverbTags
0"He gestured around [around]"
dialogueSentences25
tagDensity0.44
leniency0.88
rawRatio0.091
effectiveRatio0.08
85.27% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2036
totalAiIsmAdverbs6
found
0
adverb"sharply"
count1
1
adverb"slightly"
count2
2
adverb"gently"
count1
3
adverb"truly"
count1
4
adverb"suddenly"
count1
highlights
0"sharply"
1"slightly"
2"gently"
3"truly"
4"suddenly"
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)
26.33% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2036
totalAiIsms30
found
0
word"fleeting"
count2
1
word"flicker"
count1
2
word"clandestine"
count1
3
word"weight"
count3
4
word"measured"
count1
5
word"scanning"
count1
6
word"standard"
count1
7
word"glinting"
count1
8
word"gloom"
count1
9
word"echoed"
count1
10
word"pulsed"
count1
11
word"rhythmic"
count1
12
word"constructed"
count1
13
word"wavering"
count1
14
word"stomach"
count1
15
word"etched"
count1
16
word"charged"
count1
17
word"velvet"
count1
18
word"dancing"
count1
19
word"familiar"
count2
20
word"impose"
count1
21
word"raced"
count1
22
word"intricate"
count1
23
word"sentinel"
count1
24
word"comforting"
count1
25
word"crystallized"
count1
highlights
0"fleeting"
1"flicker"
2"clandestine"
3"weight"
4"measured"
5"scanning"
6"standard"
7"glinting"
8"gloom"
9"echoed"
10"pulsed"
11"rhythmic"
12"constructed"
13"wavering"
14"stomach"
15"etched"
16"charged"
17"velvet"
18"dancing"
19"familiar"
20"impose"
21"raced"
22"intricate"
23"sentinel"
24"comforting"
25"crystallized"
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
narrationSentences160
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences160
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences173
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen53
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords24
totalWords2036
ratio0.012
matches
0"Moby Dick"
1"Tomás Herrera"
2"No."
3"procedure. Back up. Call it in. Secure the perimeter."
4"It’s not what we thought, Harlow. None of it is."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1679
uniqueNames14
maxNameDensity0.83
worstName"Herrera"
maxWindowNameDensity3
worstWindowName"Herrera"
discoveredNames
London2
Raven2
Nest3
Morris4
Camden1
High1
Street1
Veil1
Market1
Herrera14
Harlow1
Saint1
Christopher1
Quinn13
persons
0"Raven"
1"Morris"
2"Herrera"
3"Saint"
4"Christopher"
5"Quinn"
places
0"London"
1"Camden"
2"High"
3"Street"
globalScore1
windowScore0.667
84.21% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences114
glossingSentenceCount3
matches
0"herbs that seemed to shift when she wasn’t looking directly at them; blades etched with symbols that hurt her eyes"
1"looked like liquid mercury"
2"looked like bone, carved with intricate,"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2036
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences173
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean35.72
std22.98
cv0.643
sampleLengths
046
146
261
339
44
588
670
717
866
91
1033
1138
121
1371
1414
1543
1612
1733
182
1955
2020
2153
227
2317
2495
2522
2611
2740
2858
2918
3063
3116
3229
3340
3420
358
3636
3728
3829
3912
4029
4146
4277
4316
4448
4521
4648
4731
482
4960
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences160
matches
0"were rusted"
1"was lost"
98.22% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs262
matches
0"were fraying"
1"was stitching"
2"was running"
3"wasn’t looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount3
flaggedSentences2
totalSentences173
ratio0.012
matches
0"Stalls displayed wares that made her stomach clench: jars of viscous, luminous liquids; bundles of herbs that seemed to shift when she wasn’t looking directly at them; blades etched with symbols that hurt her eyes."
1"The ground beneath her feet was no longer just stone; it thrummed with a faint, deep vibration that she felt in her bones."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1684
adjectiveStacks1
stackExamples
0"distant, sickly yellow glow"
adverbCount53
adverbRatio0.03147268408551069
lyAdverbCount20
lyAdverbRatio0.011876484560570071
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences173
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences173
mean11.77
std8.94
cv0.759
sampleLengths
010
116
220
311
419
58
63
72
83
916
1017
1121
127
1324
144
154
167
172
182
1918
2026
2111
2214
2319
2412
2514
2617
2716
285
296
3014
313
327
3310
3420
359
3620
371
3814
394
405
417
423
439
445
4515
469
471
4813
4911
40.75% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.2832369942196532
totalSentences173
uniqueOpeners49
45.35% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences147
matches
0"Then the casual, deliberate movement"
1"Only a grim, weary resignation."
ratio0.014
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences147
matches
0"He’d made her the moment"
1"She’d seen him slip through"
2"She’d given him thirty seconds,"
3"Her breath plumed in the"
4"He darted across a narrow"
5"Her wristwatch, the old leather"
6"He turned sharply left, into"
7"She advanced, each step measured,"
8"She reached the end of"
9"It was impossible."
10"Her gaze swept the space"
11"Her boot nudged something metal."
12"She holstered her weapon and"
13"She braced her feet, gripped"
14"It resisted, then shifted with"
15"It was a passage, hewn"
16"Her training screamed *procedure."
17"Her torch beam danced over"
18"She moved forward, one hand"
19"She rounded a final bend"
ratio0.286
65.44% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount116
totalSentences147
matches
0"The heel of her shoe"
1"Quinn recovered, one hand slapping"
2"He’d made her the moment"
3"The slight widening of his"
4"The hidden room."
5"Quinn had followed, her hand"
6"The Nest was a known"
7"She’d seen him slip through"
8"She’d given him thirty seconds,"
9"The back room was a"
10"A window burst open."
11"A fire escape screamed under"
12"Her breath plumed in the"
13"This suspect, this *Tomás Herrera*,"
14"He darted across a narrow"
15"Quinn vaulted the bonnet of"
16"Her wristwatch, the old leather"
17"Herrera was fast, his slight"
18"He turned sharply left, into"
19"A dead end."
ratio0.789
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences147
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences74
technicalSentenceCount4
matches
0"Three years since Morris, since the case that had cracked something open inside her, leaving her with an unshakeable sense that the world’s seams were fraying."
1"Stalls displayed wares that made her stomach clench: jars of viscous, luminous liquids; bundles of herbs that seemed to shift when she wasn’t looking directly a…"
2"The crowd parted around her, faces turning, eyes widening at the sight of her uniform, her badge."
3"Quinn cleared the distance, her reflection a fleeting distortion in a jar of something that looked like liquid mercury."
34.09% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount2
matches
0"Herrera said, his voice calm"
1"he said, his voice dropping,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount1
fancyTags
0"it whispered (whisper)"
dialogueSentences25
tagDensity0.28
leniency0.56
rawRatio0.143
effectiveRatio0.08
84.6774%