Run: 2026-04-24-01KQ09TEZTXT0ATF6G1GBVZ4TG

Run Details

Duration:
59.2s
Cost:
$0.009931
Provider:
Xiaomi

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</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> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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
# Chapter Seven The woman at the bar had Rory's old laugh. Not the one Rory used now, the careful, measured chuckle she deployed when Silas made a dry remark about the health inspector. This was the full-throated, head-thrown-back laugh that used to echo through the Cardiff University library stacks until the librarian threatened them both with permanent exile. Rory nearly dropped the tray of empties. She caught herself, balanced the pint glasses with the muscle memory of someone who'd been doing this three months too long, and looked again. The woman sat three stools from the end, nursing something amber in a tumbler, her auburn hair now cut in a sharp bob that framed a face Rory knew better than her own reflection used to show. Cara Dunne. Cara bloody Dunne, laughing at something the man beside her had said, her rings catching the green neon wash from the entrance sign. She wore a tailored blazer the colour of wet slate, and the kind of understated jewellery that whispered rather than shouted money. The last time Rory had seen her, Cara had been wearing a borrowed jumper with a cigarette burn on the sleeve, helping her pack a duffel bag at three in the morning. Rory stacked the glasses on the bar's service end and wiped her palms on her apron. Silas glanced at her from the far corner where he was polishing a glass with the reverence of a man performing surgery. "Something wrong?" "Nothing." She picked up the next delivery order from the counter, a bag of takeaway containers still warm from Yu-Fei's kitchen. The address was only three streets away. She could walk it, drop it off, come back, and Cara would be gone. People like Cara didn't linger in places like this. They passed through, stopping only long enough to remind you of everything you'd left behind. "Rory." Silas had that tone again, the one that meant he'd already read the situation and was waiting for her to catch up. His hazel eyes flicked toward the woman at the bar. "Old friend," Rory said. "Old friends are the most dangerous kind." She almost laughed at that, almost used the new laugh, but the old one threatened to crack through instead. She grabbed the takeaway bag and moved toward the door, keeping her head down, her black hair falling like a curtain between them. "Rory?" Cara's voice stopped her dead. The syllable landed like a stone dropped in still water. The whole bar seemed to lean toward the sound of it, or maybe that was just Rory's pulse hammering in her ears. She turned. Cara had half-risen from her stool, one hand on the bar, the other frozen around her glass. Her eyes, still that impossible shade of green, wide and bright and searching, swept over Rory's face, the apron, the delivery bag, the small crescent scar on her left wrist that peeked out from her rolled-up sleeve. "God." Cara set her drink down carefully. "It's really you." "Cara." Rory forced her voice into something level. "What are you doing in Soho?" "Conference. Publishing." Cara gestured vaguely, as if the entire industry could be captured in a hand wave. "But what are you, I mean, you're here? In London?" "Been here a while." "A while." Cara repeated the words like she was testing their weight. "Two years, Rory. You've been in London for two years and you didn't think to—" "Can we not do this here?" Cara looked around the bar, taking in the old maps on the walls, the dim lighting, the handful of regulars hunched over their drinks like gargoyles. Her gaze settled on Silas, who was watching them with studied disinterest, the silver signet ring on his right hand catching the light as he set down his glass. "Fine." Cara grabbed her coat. "Somewhere else then." Rory looked at the takeaway bag. Thirty minutes, Yu-Fei's rules. She glanced at Silas. He jerked his chin toward the door. "Deliver it. Then you're off the clock." --- The delivery took seven minutes. The walk back took five. Rory found Cara waiting on the pavement outside The Raven's Nest, her coat collar turned up against the damp London evening, the green neon sign casting her in an eerie glow that made her look like a ghost from another life. They walked without speaking for two blocks, past a shuttered newsagent and a kebab shop where a group of students argued about politics with the confidence of people who'd never paid a utility bill. Rory led them to a bench in a small square where a single street lamp buzzed and flickered. She sat down. Cara remained standing for a moment, arms crossed, then lowered herself onto the other end of the bench with the careful precision of someone choosing a seat on a crowded train. "You look different," Cara said. "People do." "That's not what I mean." Cara turned to face her. "You look... harder. Your eyes." Rory said nothing. She studied a crack in the pavement, a jagged line that split into three like a river delta. "Eva told me you left him," Cara said quietly. "Evan." "Eva talks too much." "Eva was worried. We all were." "Was that before or after everyone stopped returning my calls?" The words came out sharper than Rory intended. She pressed her lips together and watched a fox slink along the far wall of the square, its amber eyes catching the light before it vanished into the shadows. Cara's jaw tightened. "That's not fair." "No?" "We tried, Rory. God, we tried. But every time we reached out, he'd answer your phone. Every time I came to the flat, he said you were sleeping, or busy, or out." Cara's voice cracked slightly, a hairline fracture in her composure. "What were we supposed to do?" "Show up anyway." Rory looked at her then, really looked. "You showed up at three in the morning that last night. You showed up." "Because Eva called me. Because she'd heard you crying through the wall and she was terrified." Cara rubbed her face with both hands, smudging what little makeup she wore. "I should have come sooner. I know that. I've known that every day since." The fox reappeared on the opposite wall, bolder now, trotting along the base of a bin with a wrapper in its mouth. Rory watched it until it disappeared again. "I didn't mean to disappear," Rory said. "I just couldn't be who I was anymore. And you all knew who I was." "We knew who you are." "Same thing." Rory flexed her left hand, the crescent scar pale in the streetlight. "When I got here, I didn't call anyone for six weeks. Not Eva, not you, not my mum. Six weeks of just existing, delivering food, sleeping above a bar, and not being anyone's anything." She paused. "It was the best six weeks of my life." Cara flinched. A small, involuntary movement that she covered by reaching into her coat pocket for her phone, then thinking better of it. "I got promoted," Cara said, as if the words could build a bridge across the silence. "Senior editor. Last September." "I know. Eva showed me the post." "So you've been watching." "I've been existing. Eva's the one who watches." They sat with that for a moment. The street lamp buzzed. Somewhere in the distance, a siren wailed and faded, another small emergency dissolving into London's background noise. "Do you remember the night before our finals?" Cara asked. "Second year. We sat on the roof of the humanities building and you said you were going to be a barrister like your dad, and I said I was going to edit the next great Welsh novel, and we drank that terrible wine from the off-licence?" "Pinot Grigio. Three pounds a bottle." "You said it tasted like regret." "It did." "It tasted like possibility," Cara said. "We were wrong about a lot of things, but we weren't wrong about that night." Rory leaned back against the bench. The metal was cold through her jacket. "What happened to the novel?" "What?" "The great Welsh novel. You were going to edit it." Cara let out a breath that might have been a laugh. "I edit self-help books now. 'Five Steps to Your Authentic Self.' 'Mindful Parenting in a Digital Age.'" She said the titles with the precise diction of someone swallowing something bitter. "The great Welsh novel is still waiting." "And the barrister thing?" "Still waiting too." They looked at each other. The distance between them on the bench felt both enormous and insufficient, the kind of gap that could be crossed in a single step or never at all. "Come back to the bar," Rory said. "Let me buy you a drink that doesn't cost three pounds." "Rory, I—" "I'm not asking you to be who you were. I'm asking you to have a drink with who I am now." She stood and offered her hand, the crescent scar facing upward like a small, pale invitation. "C'mon. The owner's a spy. You'll like him." Cara stared at the offered hand, then at Rory's face, searching for something she seemed to find in the set of her jaw, the steadiness of her bright blue eyes. "A spy," Cara repeated. "Retired." "Of course he is." She took Rory's hand. Her grip was warm, deliberate, and when she stood, she didn't let go immediately. They walked back toward the green glow of The Raven's Nest, shoulder to shoulder, neither speaking, the silence between them no longer empty but loaded, like the breath before a match is struck. The door swung open. Silas looked up from behind the bar. His gaze moved from Rory to Cara's hand still in hers, then to Cara's face, cataloguing, assessing, filing away with the efficiency of a man who'd spent thirty years reading rooms and the people in them. "Found yourself a ghost," he said. "Found me, actually," Cara replied, and there was something in her voice, a steel Rory hadn't heard before, or perhaps had forgotten she'd always had. Silas smiled, a rare expression that barely touched his eyes. "Ghosts are the worst kind of guests. They never know when to leave." "And spies never know when to stop watching," Cara countered, sliding onto a bar stool with the ease of someone who'd spent years negotiating rooms full of powerful men. Rory watched them size each other up, two people who'd sharpened themselves on different whetstones, and felt something shift beneath her ribs. Not quite warmth. Not quite fear. Something older and more complicated, the feeling of standing in a doorway between two rooms and knowing you could only ever live in one. Silas placed two glasses on the bar, amber liquid catching the green light. "On the house," he said. "For the reunion." He limped away to serve another customer, his left leg stiff, the silver signet ring a flash of light in the dim room. Rory lifted her glass. Cara mirrored her. "To being lost," Rory said. "To being found," Cara replied. They drank. The whisky burned a familiar path down Rory's throat, and across the bar, through the haze of conversation and clinking glass, she caught Silas watching them. He held up his phone. On the screen, a text glowed in the green light. Three words. From a number Rory didn't recognise. She read them twice, the warmth of the whisky turning to ice in her stomach. *She knows about Prague.*
created_at"2026-04-24T17:50:23.249Z" 4/24/2026, 5:50:23 PM
model"xiaomi/mimo-v2.5-pro-20260422"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1769
moderation_latency(null)
generation_time59081
tokens_prompt4618
tokens_completion3530
native_tokens_prompt4214
native_tokens_completion3015
native_tokens_completion_images(null)
native_tokens_reasoning535
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"
usage0.009931
router(null)
provider_responses
0
endpoint_id"5c24ecc9-5ba1-4af0-8877-3402889e7d0a"
id"6e3f9f52ed7a4832916a96677d55cfc2"
is_byokfalse
latency1675
model_permaslug"xiaomi/mimo-v2.5-pro-20260422"
provider_name"Xiaomi"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.1; linux; x64))"
http_referer(null)
request_id"req-1777053023-25a6m6ejXvTBzEKRPOS0"
session_id(null)
api_type"completions"
id"gen-1777053023-x43NLW7Ygj9kz1zQxCyi"
upstream_id"6e3f9f52ed7a4832916a96677d55cfc2"
total_cost0.009931
cache_discount0.003328
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
totalTags29
adverbTagCount3
adverbTags
0"Cara gestured vaguely [vaguely]"
1"Cara said quietly [quietly]"
2"Cara's voice cracked slightly [slightly]"
dialogueSentences77
tagDensity0.377
leniency0.753
rawRatio0.103
effectiveRatio0.078
89.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1922
totalAiIsmAdverbs4
found
0
adverb"carefully"
count1
1
adverb"really"
count2
2
adverb"slightly"
count1
highlights
0"carefully"
1"really"
2"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
68.78% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1922
totalAiIsms12
found
0
word"measured"
count1
1
word"echo"
count1
2
word"flicked"
count1
3
word"pulse"
count1
4
word"weight"
count1
5
word"flickered"
count1
6
word"silence"
count2
7
word"warmth"
count2
8
word"familiar"
count1
9
word"stomach"
count1
highlights
0"measured"
1"echo"
2"flicked"
3"pulse"
4"weight"
5"flickered"
6"silence"
7"warmth"
8"familiar"
9"stomach"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences109
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences109
filterMatches
0"look"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences157
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords4
totalWords1922
ratio0.002
matches
0"She knows about Prague."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions22
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions86
wordCount1391
uniqueNames12
maxNameDensity2.37
worstName"Cara"
maxWindowNameDensity4.5
worstWindowName"Cara"
discoveredNames
Chapter1
Seven1
Rory30
Silas9
Cardiff1
University1
Dunne2
Cara33
Yu-Fei2
Raven2
Nest2
London2
persons
0"Rory"
1"Silas"
2"Dunne"
3"Cara"
4"Yu-Fei"
5"Raven"
places
0"Cardiff"
1"University"
2"London"
globalScore0.314
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.52
wordCount1922
matches
0"no longer empty but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences157
matches
0"had that tone"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs90
mean21.36
std20.21
cv0.946
sampleLengths
03
19
247
37
461
52
677
738
82
91
1065
1133
124
137
1442
151
1637
1756
1810
1914
2027
214
2227
236
2455
258
2614
2714
281
2951
3086
315
322
3315
3421
3510
364
376
3810
3937
406
411
4248
4324
4443
4529
4622
475
4859
4923
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences109
matches(empty)
87.01% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs236
matches
0"was polishing"
1"was waiting"
2"was testing"
3"was watching"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences157
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1399
adjectiveStacks0
stackExamples(empty)
adverbCount49
adverbRatio0.035025017869907075
lyAdverbCount11
lyAdverbRatio0.007862759113652609
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences157
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences157
mean12.24
std10.47
cv0.855
sampleLengths
012
122
225
37
424
537
62
723
822
932
1016
1122
122
131
1420
157
1614
179
1815
1923
2010
214
227
2319
2423
251
265
2710
2822
292
3017
3137
327
333
348
356
3617
3710
384
3912
4015
416
4226
4329
445
453
466
474
484
497
55.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3821656050955414
totalSentences157
uniqueOpeners60
36.23% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences92
matches
0"Somewhere in the distance, a"
ratio0.011
98.26% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences92
matches
0"She caught herself, balanced the"
1"She wore a tailored blazer"
2"She picked up the next"
3"She could walk it, drop"
4"They passed through, stopping only"
5"His hazel eyes flicked toward"
6"She almost laughed at that,"
7"She grabbed the takeaway bag"
8"Her eyes, still that impossible"
9"Her gaze settled on Silas,"
10"She glanced at Silas."
11"He jerked his chin toward"
12"They walked without speaking for"
13"She sat down."
14"She studied a crack in"
15"She pressed her lips together"
16"They sat with that for"
17"She said the titles with"
18"They looked at each other."
19"She stood and offered her"
ratio0.304
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount85
totalSentences92
matches
0"# Chapter Seven The woman"
1"This was the full-throated, head-thrown-back"
2"Rory nearly dropped the tray"
3"She caught herself, balanced the"
4"The woman sat three stools"
5"Cara bloody Dunne, laughing at"
6"She wore a tailored blazer"
7"The last time Rory had"
8"Rory stacked the glasses on"
9"Silas glanced at her from"
10"She picked up the next"
11"The address was only three"
12"She could walk it, drop"
13"People like Cara didn't linger"
14"They passed through, stopping only"
15"Silas had that tone again,"
16"His hazel eyes flicked toward"
17"She almost laughed at that,"
18"She grabbed the takeaway bag"
19"Cara's voice stopped her dead."
ratio0.924
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences92
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount10
matches
0"This was the full-throated, head-thrown-back laugh that used to echo through the Cardiff University library stacks until the librarian threatened them both with…"
1"Cara bloody Dunne, laughing at something the man beside her had said, her rings catching the green neon wash from the entrance sign."
2"She wore a tailored blazer the colour of wet slate, and the kind of understated jewellery that whispered rather than shouted money."
3"Her eyes, still that impossible shade of green, wide and bright and searching, swept over Rory's face, the apron, the delivery bag, the small crescent scar on h…"
4"Her gaze settled on Silas, who was watching them with studied disinterest, the silver signet ring on his right hand catching the light as he set down his glass."
5"Rory found Cara waiting on the pavement outside The Raven's Nest, her coat collar turned up against the damp London evening, the green neon sign casting her in …"
6"They walked without speaking for two blocks, past a shuttered newsagent and a kebab shop where a group of students argued about politics with the confidence of …"
7"The distance between them on the bench felt both enormous and insufficient, the kind of gap that could be crossed in a single step or never at all."
8"His gaze moved from Rory to Cara's hand still in hers, then to Cara's face, cataloguing, assessing, filing away with the efficiency of a man who'd spent thirty …"
9"Rory watched them size each other up, two people who'd sharpened themselves on different whetstones, and felt something shift beneath her ribs."
73.28% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount3
matches
0"Cara gestured vaguely, as if the entire industry could be captured in a hand wave"
1"Cara said, as if the words could build a bridge across the silence"
2"She stood, the crescent scar facing upward like a small, pale invitation"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags16
fancyCount2
fancyTags
0"Cara repeated (repeat)"
1"Cara repeated (repeat)"
dialogueSentences77
tagDensity0.208
leniency0.416
rawRatio0.125
effectiveRatio0.052
80.8411%