Run: 2026-05-27-01KSMEVDT76KG6FJ0TVTMTCV7S

Run Details

Duration:
56.9s
Cost:
$0.001885
Provider:
Parasail

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
The glass slipped from his fingers, landing not with a crash but a dull thud on the bar's worn oak surface. Silas Blackwood stared at the amber liquid pooling towards the edge, wondering if it might spill over and onto his neatly pressed trousers. That would be inconvenient. They were his good trousers. "Shit. Sorry." The barman wiped his hands on a tea towel and righted the glass before the liquid could escape. Silas welcomed the distraction from his thoughts, or rather, the attempt to suppress them. He glanced up, ready to offer his standard, polite dismissal to whichever weekend reveller had interrupted his contemplative drink, but the words died in his throat. "Good, isn't it? The whiskey." The voice was familiar yet somehow changed. He knew it intimately, had heard it whisper promises in the darkness of university bedrooms and scream challenges across a crowded campus square years ago. He forced himself to look up, to meet bright blue eyes that hadn't changed at all, except perhaps for a new depth of knowledge that wasn't there at twenty-two. "Rory." It came out as both a greeting and an accusation. "Silas." Aurora Carter—Rory—didn't smile. Not the way he remembered. There was no wide, infectious grin that once could light up the dullest of university corridors. Instead, her expression was guarded, her relaxed-was her entire demeanor guarded? Had she always held herself that way? He couldn't recall. Memory could be both enemy and ally, and tonight, it was pulling the shades. "Long time." "Yes." He cleared his throat, reaching for the whiskey the barman had returned. "Some fifteen years, if my arithmetic serves me correctly." He didn't feel the burn as he swallowed. It didn't cut through the sudden nervelessness playing havoc with his vocal cords. "What brings you to... Sasha's?" He realised with slight mortification that he had completely forgotten the name of the bar. Perhaps it wasn't Sasha's. Perhaps it was somewhere else entirely. Somehow, London had become less familiar, not more, since he'd retired. "Peace and quiet, oddly enough." Rory slid onto the stool next to him, her movements economical and deliberate. She signalling to the barman, her small crescent-shaped scar—for he noticed it immediately, even in the dim light—catching the backlight of the shelf behind. "A rare commodity in this city, wouldn't you say?" "You're being philosophical." How very odd. Rory had always been practical. The sensible one among them, while he... well, he'd been the one with a head for strategy and a willingness to bend the rules, occasionally snapping them in the process. How roles had reversed. "Occupational hazard." She took the whiskey the barman slid towards her, raising it in a silent toast before taking a sip. She didn't wince. Good. She'd developed a taste then? Silas studied her properly now, really allowed himself to take her in. The straight shoulder-length black hair was the same, but there were fine lines at the corners of those bright blue eyes he'd once thought could enchant any policy committee. The wrist with that telltale crescent scar—for how could he forget that little incident with the penknife in his first-year room?—was smooth now, unmarred by anything so nostalgic as university drama. "You've... haven't changed." The lie came naturally. How many relationships had he navigated, both personal and professional, by telling people what they wished to hear? "Still looking after yourself." "I should say the same." Her gaze flickered to the silver signet ring on his right hand, then upwards to his face. There was sadness in her scrutiny, and something else he couldn't quite place. Disappointment? "Although you wear your stress differently these days. Not bad. Just... different." The light above the bar hummed slightly, creating a visual distortion that both exaggerated and belied the small wear-and-tear in her features. Then, her fingers traced the rim of her glass, the simple movement radiating a confidence he'd never witnessed in her during their university days. Who was she now? This was not the girl who had once followed him into unintended career conversations, nor the friend who had begged him not to take that posting to the Middle East after graduation. The tv over the bar, playing sporting event he hadn't bothered to identify beyond recognising it as such, created a shell of conversation while they relaunched a connection spanning fifteen years. The silence that fell between them was not awkward but contemplative, weighty with untold stories and lost time. "So then," he eventually resumed, watching the condensation on their glasses bead and run down with scientific interest, "what line of work is it that's taught you philosophy and caution now?" She turned her entire body to face him then, crossing one leg over the other. There was a faint scent of jasmine mixed with something else—perhaps the bar's cleaning products, but something more personal too. "Bars. Among other things. Occasionally a bit of... consulting." "Consulting?" He raised an eyebrow, expecting her to elaborate, but she merely sipped her drink, inviting nothing more. Consulting what? Relationships? Business strategies? Something more clandestine somehow? The intelligence officer in him, long retired but never fully silenced, stirred with curiosity. There was a story here, and he had suddenly very much wanted to hear it. He angled the signet ring on his finger, the sudden metallic scrape at odds with the bar's subdued atmosphere. "And have you found that... consulting... suits you?" "I've found it helps me appreciate the quiet," she said simply, her eyes remaining steady. "Amongst other things." "Like whiskey," he added, attempting a smile he wasn't certain reached his eyes. "Amongst other things," she repeated, a small smile touching her lips this time. And then she turned on her stool, her body language shifting entirely, adopting the posture of someone suddenly with business to attend. "Silas." "Mm?" He followed her gaze across the room towards the bar's entrance where two figures stood conferring with a third man who looked vaguely familiar. One he recognised from a file he'd reviewed last week, a quartermaster for a local operation, someone who knew how to make things disappear. Disappear, or appear. Depended on the day. "The bartender said you owned a place now," she said conversationally, putting her glass down precisely between themselves and the newcomers. "The Raven's Nest." "Indeed. A rather different world from our office days." He watched her profile, how everything about her had gone from relaxed contemplation to controlled observation, as if flipping a switch. He had missed this, this alertness that could transform in an instant. Had he possessed it long enough to notice how quickly he'd lost it? "How quaint," she murmured, though there was nothing whimsical in her tone. "I'd heard." "The building came available. It was... serendipitous." He deliberately kept his voice casual, but energy passed between them like static electricity across a well-worn circuit. This was extraordinary, she appearing here, now, when half of London knew he was meeting this quartermaster and a second floor operative tonight. Whom could she possibly be consulting for? "Serendipity or inevitability, Silas? I've never quite been able to tell with you." The quartermaster and the second figure now moved towards the staircase leading to what he assumed were the restrooms, comparing notes on something a bartender had just shown them. There was a focus in their gait that screamed importance, a tension in their shoulders that spoke louder than any whispered conversation could. "If I recall, you never knew what that meant either." He gestured to the newcomers with his glass, marveling at how naturally they fell into this dance of partial truths and unspoken understanding. "Working on something interesting?" She followed the direction of his gaze briefly, then her attention snapped back to him. "You could say that. Though I suspect," she leaned slightly closer, her clear eyes glittering in the dim light, "that you already knew precisely what I was working on. Much like how I knew you would be meeting with Jamison and his assistant tonight." The cold from the whiskey glass in his hand had absolutely nothing on the chill racing down his spine. He suddenly realised the TV noise had receded, replaced by the thrum of his own pulse in his ears. "Excellent work, Rory. Memory serves you well." "I read the London Times charities page," she said with a sincerity that didn't quite mask the electric current beneath her calm exterior. "Mr. Jamison founded something called Pathways a couple years back. Helps ex-offenders find housing, believe it or not. Also helps certain items find new homes. News travels, as they say." Silas placed his glass with deliberate care on the bar, the movement an ancient ritual of control to counter the sudden spinning of his thoughts. "Your development is impressive, Rory. You were always clever, but there's a... precision to you now." She smiled, genuine this time, and it transformed her face in startling and unexpected ways. Fifteen years fell away momentarily. "A girl can't just sit back and watch the years accumulate, Silas. Not in our line of work, anyway." She winked, raising her now half-empty glass once more in a toast that hung uncompleted, that deliverable question mark between them. "Indeed," he replied, caught in the compelling tension of having one foot planted solidly in his past and the other in a future he hadn't known awaited him. "You should come by the Nest sometime. We could reminisce. Or not." He watched her, this changed and un-changed friend, turning back towards her drink. "I've finally got that rare commodity you mentioned." "A rare commodity?" The question hung in the air between them like ozone after a storm. "Peace and quiet, Rory. Yours truly does own a bar, after all." She laughed then, a warm, delighted sound that seemed to lift the suddenly heavy atmosphere in their small corner of the bar. "I'll keep that in mind, Silas. But I actually have a date in about ten minutes. Can't be late." That bright smile flashed once more before she stood, retrieving a satin jacket from the back of her barstool with practiced elegance. "Don't disappear on me again, though. I found you once, I can do it again." "And if I were hiding, wouldn't you have found me already?" He posed it as a hypothetical question, though the reply felt both plausible and terrifyingly truthful. She paused half-turned, that brilliant blue gaze pinning him to his barstool. "Maybe. Or maybe I wanted to hear you say what you want me to hear." Silas watched her across the room, making her way towards a different door than the one Jamison had disappeared through, her intentions as inscrutable as they had been fifteen years ago. She vanished from sight, leaving behind only a faint trace of jasmine, the ghost of whiskey, and the unsettling certainty that Aurora Carter had not come seeking peace and quiet at all. Rory had come seeking answers—and in his questions, she had found them both fascinating and profoundly worrisome. His phone vibrated, the subtle buzz rippling against his thigh. He fished it out, the display giving promise of an impossible meeting location. He glanced back to the door through which she had departed, then at the staircase where Jamison had gone, each destination representing a different version of himself. The barman collected his glass with a practiced hand, unaware he was standing between the past and future of the man who might have been a friend. In that space, in that deliberate moment, reality itself seemed to waver.
created_at"2026-05-27T10:14:29.989Z" 5/27/2026, 10:14:29 AM
model"thedrummer/cydonia-24b-v4.1"
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generation_time56699
tokens_prompt4618
tokens_completion3009
native_tokens_prompt4275
native_tokens_completion2487
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4272
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
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is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.0018852
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provider_responses
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endpoint_id"4d46db86-63fe-47eb-85f1-6a7567af190c"
id"chatcmpl-68551220b5424cb68dda130fd6af2e3f"
is_byokfalse
latency984
model_permaslug"thedrummer/cydonia-24b-v4.1"
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Evaluation details

Result Evaluator Details Meta Data
21.43% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags28
adverbTagCount5
adverbTags
0"The lie came naturally [naturally]"
1"she said simply [simply]"
2"she said conversationally [conversationally]"
3"she leaned slightly [slightly]"
4"bright smile flashed once [once]"
dialogueSentences50
tagDensity0.56
leniency1
rawRatio0.179
effectiveRatio0.179
61.10% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1928
totalAiIsmAdverbs15
found
0
adverb"completely"
count1
1
adverb"very"
count2
2
adverb"really"
count1
3
adverb"slightly"
count2
4
adverb"suddenly"
count4
5
adverb"precisely"
count2
6
adverb"quickly"
count1
7
adverb"deliberately"
count1
8
adverb"truly"
count1
highlights
0"completely"
1"very"
2"really"
3"slightly"
4"suddenly"
5"precisely"
6"quickly"
7"deliberately"
8"truly"
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)
35.17% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1928
totalAiIsms25
found
0
word"standard"
count1
1
word"familiar"
count3
2
word"whisper"
count1
3
word"navigated"
count1
4
word"flickered"
count1
5
word"traced"
count1
6
word"silence"
count1
7
word"eyebrow"
count1
8
word"clandestine"
count1
9
word"whimsical"
count1
10
word"tension"
count2
11
word"dance"
count1
12
word"unspoken"
count1
13
word"absolutely"
count1
14
word"chill"
count1
15
word"racing"
count1
16
word"down his spine"
count1
17
word"pulse"
count1
18
word"electric"
count1
19
word"satin"
count1
20
word"fascinating"
count1
21
word"vibrated"
count1
highlights
0"standard"
1"familiar"
2"whisper"
3"navigated"
4"flickered"
5"traced"
6"silence"
7"eyebrow"
8"clandestine"
9"whimsical"
10"tension"
11"dance"
12"unspoken"
13"absolutely"
14"chill"
15"racing"
16"down his spine"
17"pulse"
18"electric"
19"satin"
20"fascinating"
21"vibrated"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences104
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences104
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences123
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1921
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1536
uniqueNames12
maxNameDensity0.33
worstName"Silas"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Blackwood1
Silas5
Aurora2
Carter2
Rory4
Sasha1
London2
Middle1
East1
Consulting1
One1
Jamison2
persons
0"Blackwood"
1"Silas"
2"Aurora"
3"Carter"
4"Rory"
5"Sasha"
6"Consulting"
7"Jamison"
places
0"London"
1"Middle"
globalScore1
windowScore1
28.05% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences82
glossingSentenceCount4
matches
0"quite place"
1"as if flipping a switch"
2"quite mask the electric current beneath her calm exterior"
3"sound that seemed to lift the suddenly heavy atmosphere in their small corner of the bar"
95.89% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.041
wordCount1921
matches
0"not with a crash but a dull thud on the bar's worn oak surface"
1"not awkward but contemplative, weighty with untold stories"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences123
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs41
mean46.85
std27.64
cv0.59
sampleLengths
053
160
266
311
462
584
651
745
830
972
1029
1148
1282
1349
1431
1544
1656
1727
1818
1913
2036
2156
2224
2355
2414
2555
2613
2752
2837
2959
3045
3153
3241
3360
3461
3516
3612
3778
3827
3927
40169
98.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences104
matches
0"was guarded"
1"been fifteen"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs253
matches
0"was pulling"
1"was meeting"
2"was standing"
26.71% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount8
semicolonCount0
flaggedSentences5
totalSentences123
ratio0.041
matches
0"\"Silas.\" Aurora Carter—Rory—didn't smile."
1"She signalling to the barman, her small crescent-shaped scar—for he noticed it immediately, even in the dim light—catching the backlight of the shelf behind."
2"The wrist with that telltale crescent scar—for how could he forget that little incident with the penknife in his first-year room?—was smooth now, unmarred by anything so nostalgic as university drama."
3"There was a faint scent of jasmine mixed with something else—perhaps the bar's cleaning products, but something more personal too."
4"Rory had come seeking answers—and in his questions, she had found them both fascinating and profoundly worrisome."
73.58% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1553
adjectiveStacks2
stackExamples
0"small crescent-shaped scar—"
1"electric current beneath her"
adverbCount83
adverbRatio0.05344494526722473
lyAdverbCount36
lyAdverbRatio0.0231809401159047
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences123
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences123
mean15.62
std9.84
cv0.63
sampleLengths
021
123
24
35
420
514
626
712
825
929
1011
114
125
1316
1411
157
163
1714
182
1913
2017
2113
2220
234
246
2511
2618
2724
289
296
305
317
3223
334
3421
353
361
375
3812
3929
4031
417
4218
434
4422
4513
461
4712
4822
4924
75.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.4878048780487805
totalSentences123
uniqueOpeners60
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences99
matches
0"Instead, her expression was guarded,"
1"Perhaps it wasn't Sasha's."
2"Perhaps it was somewhere else"
3"Somehow, London had become less"
4"Then, her fingers traced the"
ratio0.051
42.22% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences99
matches
0"They were his good trousers."
1"He glanced up, ready to"
2"He knew it intimately, had"
3"He forced himself to look"
4"It came out as both"
5"He couldn't recall."
6"He cleared his throat, reaching"
7"He didn't feel the burn"
8"It didn't cut through the"
9"He realised with slight mortification"
10"She signalling to the barman,"
11"She took the whiskey the"
12"She didn't wince."
13"She'd developed a taste then?"
14"Her gaze flickered to the"
15"he eventually resumed, watching the"
16"She turned her entire body"
17"He raised an eyebrow, expecting"
18"He angled the signet ring"
19"she said simply, her eyes"
ratio0.444
86.26% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount74
totalSentences99
matches
0"The glass slipped from his"
1"Silas Blackwood stared at the"
2"That would be inconvenient."
3"They were his good trousers."
4"The barman wiped his hands"
5"Silas welcomed the distraction from"
6"He glanced up, ready to"
7"The voice was familiar yet"
8"He knew it intimately, had"
9"He forced himself to look"
10"It came out as both"
11"Aurora Carter—Rory—didn't smile"
12"He couldn't recall."
13"Memory could be both enemy"
14"He cleared his throat, reaching"
15"He didn't feel the burn"
16"It didn't cut through the"
17"He realised with slight mortification"
18"Rory slid onto the stool"
19"She signalling to the barman,"
ratio0.747
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences99
matches(empty)
ratio0
42.86% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount7
matches
0"He forced himself to look up, to meet bright blue eyes that hadn't changed at all, except perhaps for a new depth of knowledge that wasn't there at twenty-two."
1"This was not the girl who had once followed him into unintended career conversations, nor the friend who had begged him not to take that posting to the Middle E…"
2"The silence that fell between them was not awkward but contemplative, weighty with untold stories and lost time."
3"One he recognised from a file he'd reviewed last week, a quartermaster for a local operation, someone who knew how to make things disappear."
4"There was a focus in their gait that screamed importance, a tension in their shoulders that spoke louder than any whispered conversation could."
5"She laughed then, a warm, delighted sound that seemed to lift the suddenly heavy atmosphere in their small corner of the bar."
6"The barman collected his glass with a practiced hand, unaware he was standing between the past and future of the man who might have been a friend."
35.71% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags28
uselessAdditionCount5
matches
0"Rory slid, her movements economical and deliberate"
1"she said simply, her eyes remaining steady"
2"she repeated, a small smile touching her lips this time"
3"she leaned slightly, her clear eyes glittering in the dim light,"
4"He posed, though the reply felt both plausible and terrifyingly truthful"
90.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount3
fancyTags
0"he added (add)"
1"she repeated (repeat)"
2"she murmured (murmur)"
dialogueSentences50
tagDensity0.14
leniency0.28
rawRatio0.429
effectiveRatio0.12
77.1037%