Run: 2026-07-25-01KYCRH0CWZFYC9VBQQ4KDMRKM

Run Details

Duration:
1m 16s
Cost:
$0.139945
Provider:
Amazon Bedrock

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The shadow closed round my wrist before my foot came down. "Not there." Nyx's grip felt like cold silk, and their whisper came from somewhere behind my ear rather than the hand holding me back. I looked down. Between the two oaks, the grass lay perfectly flat, each blade combed the same way, and a thin seam ran through it like the join in badly laid carpet. "It's grass." "It's a threshold. Step on the seam and you'll arrive somewhere you didn't intend." "Define somewhere." "I can't. That's rather the point." Eva leaned past me, hands stuffed into her parka, breath fogging in front of her face. "So we jump it?" "You step over it. Long stride. Left foot leading." "Why left?" "Because the Courts are petty," Nyx said, "and they remember who bows and who doesn't." I went first. My boot came down in cold bracken on the far side, and the world switched off. That's the only way I can put it. One second Richmond Park murmured behind us, the low grind of the South Circular, a plane climbing out of Heathrow, a dog owner shouting a name over and over. Then nothing. Not silence, exactly. Silence has an edge to it, a hiss. This was a room where the sound had been lifted out with tweezers. Eva cleared her throat and jumped as if someone had slapped her. "My ears," she said. "It's like coming up out of the deep end." The stones stood in a rough circle, seven of them that I could count, and they weren't stone at all. Oak. Ancient oak, standing dead and grey and hard as granite, bark long stripped, grain worn into whorls that caught the light like fingerprints. Someone had carved into them once. Not letters. Long looping cuts, the sort you'd make if you were writing with your eyes closed and your hand shaking. Inside the circle, the meadow was in flower. February. Frost still crunched under our feet in the park beyond, and here the ground ran riot with cowslip and foxglove and bluebell and things I had no name for, all blooming together, all wrong together, colours stacked like a child had emptied a paintbox. The scent hit the back of my throat, honeyed and thick, sweet enough to sit heavy in my chest. "Careful," Nyx said. "Of flowers?" "Of liking them too much." I made myself look away. My eyes watered, and I noticed then that there was no sun. The light came from everywhere and cast no shadows worth the name, a soft golden shine with no source, as if the air itself had been warmed and lit from inside. Which made Nyx a problem. They walked ahead of us, and they were solid. Not the usual smear of dark that slid along walls and dripped off ceilings, but a tall figure of black glass, shoulders and hands and the suggestion of a coat, violet eyes burning cold in a face with no features. Their footsteps pressed down the wildflowers, and the flowers rose again behind them. "You're wearing a body," I said. "This place insists." Their whisper went brittle. "It has opinions about what things ought to look like. I find that offensive." Eva had stopped in front of the largest of the standing oaks, phone up, screen glowing. "Rory." "What?" "Three minutes past four." She tilted it towards me. "It said three minutes past four when we crossed. It said three minutes past four when I checked at the trees. Look at the seconds." The little digit sat there. Twenty-two. It stayed twenty-two. "Turn it off." "Why?" "Because I don't want to know what it says when we leave." We went deeper. That was the thing about the clearing, it kept having more of itself. From the stones you could see the far side, a wall of hawthorn and hazel maybe forty metres off, and we walked towards it for what my legs reckoned was ten minutes, and it stayed forty metres away, and the stones behind us shrank until they were small and pale as milk teeth on the horizon. Water ran somewhere close. I found it in a fold of ground, a stream the width of my forearm, clear as gin over white pebbles, and it was running uphill. Not fast. Patient. Climbing the slope the way ivy climbs, unhurried, absolutely certain. Eva crouched and dipped a finger. "Don't," Nyx and I said together. She pulled back. "I wasn't going to drink it." "You were going to touch your mouth after," Nyx said. "Mortals always do. Then you're a guest, and guests here have obligations they never agreed to." Bees moved through the foxgloves. Or something bee-shaped. Their wings were glass, actual glass, and they chimed as they flew, a thin ringing note that changed pitch when they turned. One landed on the back of my hand and sat there, and I felt the crescent scar on my left wrist prickle in the cold, an old ache I hadn't felt since I was nine years old and bleeding on my mother's kitchen floor. The bee lifted off. The prickling stayed. "There's a path," Eva said. She'd found it where the meadow thinned, a run of flat stones set into the moss, each one pressed with a footprint. Not carved. Pressed, the way a foot presses into wet sand. Bare feet, small ones. Some had toes. Some had too many. We followed it because there was nothing else to follow, and the moss on either side held a stranger record: our own steps, appearing beside the path, matching us pace for pace, three sets sinking into the green as if we walked twice, once with our bodies and once with something slower. Then the coat. It hung from a hawthorn branch at head height, a man's coat, brown wool, shoulders furred green with lichen. Rain had got into it and out again for a long, long time. The lining had gone to lace. I lifted the flap of the breast pocket with two fingers and something crackled inside. A ticket. Card, not paper. Rounded corners. The print had faded to a rusty ghost but the numbers held. "Nineteen seventy four," I said. Eva took a step back. "And him?" "There's no him." I checked the sleeves. Empty. Hollow. "There's a coat." "That's worse. Say something that isn't worse." Nyx had gone still, head tipped, the way a dog goes still at a sound you can't hear. "He took it off," they said. "That's the trouble with warmth. You get comfortable, you get generous, you start giving things away. Coat first. Name second." "And third?" "Nothing. There's no third. Two is sufficient." Eva laughed, high and thin, and stopped when nobody joined in. Beyond the hawthorn the ground opened again, and I forgot the coat, because the air was torn. It hung across the far end of the clearing, a slow shimmer in the shape of a curtain, twenty feet of nothing rippling like heat off tarmac. Behind it I saw the grove again, the same flowers, the same impossible stream, and then not the same at all: towers of pale wood, a sky the colour of a bruise healing, birds too big to be birds wheeling in slow circles. It slid in and out of being with each ripple, there, gone, there. "The Veil," I said. "Thin here," Nyx said. "It always is, where two worlds share a garden." I took another step and stopped, because the pendant under my shirt had gone warm. Not the friendly warmth of skin. The crimson stone woke, pulsing, once, twice, quickening, and heat bloomed against my sternum until I hooked the silver chain out and let it swing free. It glowed like a coal in a draught. Nyx's whisper lost every trace of amusement. "That should not do that here." "Tell it that." "Aurora." They had my name, whole, unhurried, and that terrified me more than the stone. "That answers to Hel. There is no Hel in this grove. There has never been Hel in this grove." The bees stopped chiming. All at once, all of them, as if a hand had closed over a bell. The flowers turned black in a spreading circle six feet from my boots, petals crisping, curling, going to ash without a single flame, and the sweet honeyed air went sour with the reek of burnt fat and cinnamon and rot. Something under the ground made a sound like a full stomach. "Rory, move," Eva said. I couldn't. The pendant hauled at my neck, dragging me towards the ash, and the moss there split with a wet tearing noise, and the split had depth to it. Amber light poured up out of the ground, warm and golden and appetising, and I heard, far away and quite clearly, the clatter of a hundred knives on a hundred plates. A voice came through the hawthorn behind us, calm as still water. "You were told to come empty-handed, child. Now look what you have set at my table." Isolde stood among the crushed flowers, silver hair loose to her waist, and behind her the moss showed no footprints at all. Out of the tear in the ground came a hand, wet and gleaming, and its fingers were far too long.
created_at"2026-07-25T13:48:07.98Z" 7/25/2026, 1:48:07 PM
model"anthropic/claude-opus-5-20260723"
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generation_time75440
tokens_prompt5142
tokens_completion2670
native_tokens_prompt7639
native_tokens_completion4070
native_tokens_completion_images(null)
native_tokens_reasoning489
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num_input_audio_prompt(null)
num_media_completion0
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
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service_tier"default"
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endpoint_id"76cb4608-f48c-483d-8da8-9957fb44244e"
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is_byokfalse
latency2189
model_permaslug"anthropic/claude-opus-5-20260723"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags16
adverbTagCount0
adverbTags(empty)
dialogueSentences47
tagDensity0.34
leniency0.681
rawRatio0
effectiveRatio0
96.79% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1557
totalAiIsmAdverbs1
found
0
adverb"perfectly"
count1
highlights
0"perfectly"
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)
58.25% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1557
totalAiIsms13
found
0
word"silk"
count1
1
word"whisper"
count3
2
word"silence"
count2
3
word"footsteps"
count1
4
word"absolutely"
count1
5
word"warmth"
count2
6
word"comfortable"
count1
7
word"stomach"
count1
8
word"gleaming"
count1
highlights
0"silk"
1"whisper"
2"silence"
3"footsteps"
4"absolutely"
5"warmth"
6"comfortable"
7"stomach"
8"gleaming"
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
narrationSentences107
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences107
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1557
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions24
wordCount1271
uniqueNames9
maxNameDensity0.71
worstName"Nyx"
maxWindowNameDensity1.5
worstWindowName"Nyx"
discoveredNames
Richmond1
Park1
South1
Circular1
Heathrow1
Nyx9
Eva8
Bees1
Empty1
persons
0"Nyx"
1"Eva"
2"Bees"
places
0"Richmond"
1"Park"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount1
matches
0"felt like cold silk, and their whisper"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.642
wordCount1557
matches
0"Not the usual smear of dark that slid along walls and dripped off ceilings, but a tall figure of black glass, shoulders"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences138
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs75
mean20.76
std21.58
cv1.04
sampleLengths
011
12
254
32
414
52
66
720
89
92
1015
1119
1263
1312
1413
1571
168
1764
183
192
205
2148
225
2362
246
2521
2616
271
281
2934
309
313
321
3312
3472
3543
366
376
389
3926
4074
417
425
4344
4452
453
4653
4719
485
497
95.43% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences107
matches
0"been lifted"
1"been warmed"
2"was torn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs208
matches
0"were writing"
1"was running"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences138
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1274
adjectiveStacks0
stackExamples(empty)
adverbCount47
adverbRatio0.036891679748822605
lyAdverbCount7
lyAdverbRatio0.005494505494505495
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean11.28
std11.05
cv0.979
sampleLengths
011
12
222
33
429
52
614
72
86
916
104
119
122
1315
143
1516
168
1729
182
193
208
2113
2212
234
249
2520
261
2723
286
292
3019
318
321
3344
3419
353
362
375
385
3912
4031
415
429
4340
4413
456
467
4714
4816
491
80.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.5
totalSentences138
uniqueOpeners69
40.16% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences83
matches
0"Then the coat."
ratio0.012
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount24
totalSentences83
matches
0"I looked down."
1"I went first."
2"My boot came down in"
3"I made myself look away."
4"My eyes watered, and I"
5"They walked ahead of us,"
6"Their footsteps pressed down the"
7"Their whisper went brittle"
8"She tilted it towards me"
9"It stayed twenty-two."
10"We went deeper."
11"I found it in a"
12"She pulled back."
13"Their wings were glass, actual"
14"She'd found it where the"
15"We followed it because there"
16"It hung from a hawthorn"
17"I lifted the flap of"
18"I checked the sleeves"
19"It hung across the far"
ratio0.289
86.51% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount62
totalSentences83
matches
0"The shadow closed round my"
1"Nyx's grip felt like cold"
2"I looked down."
3"Eva leaned past me, hands"
4"I went first."
5"My boot came down in"
6"That's the only way I"
7"One second Richmond Park murmured"
8"Silence has an edge to"
9"This was a room where"
10"Eva cleared her throat and"
11"The stones stood in a"
12"Someone had carved into them"
13"The scent hit the back"
14"I made myself look away."
15"My eyes watered, and I"
16"The light came from everywhere"
17"They walked ahead of us,"
18"Their footsteps pressed down the"
19"Their whisper went brittle"
ratio0.747
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences83
matches(empty)
ratio0
65.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount5
matches
0"Ancient oak, standing dead and grey and hard as granite, bark long stripped, grain worn into whorls that caught the light like fingerprints."
1"Long looping cuts, the sort you'd make if you were writing with your eyes closed and your hand shaking."
2"Not the usual smear of dark that slid along walls and dripped off ceilings, but a tall figure of black glass, shoulders and hands and the suggestion of a coat, …"
3"Their wings were glass, actual glass, and they chimed as they flew, a thin ringing note that changed pitch when they turned."
4"We followed it because there was nothing else to follow, and the moss on either side held a stranger record: our own steps, appearing beside the path, matching …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount0
fancyTags(empty)
dialogueSentences47
tagDensity0.255
leniency0.511
rawRatio0
effectiveRatio0
90.7595%