Run: 2026-09-02-01M1GSR4HXF8MB7KSQ1FE25NXV

Run Details

Duration:
6m 57s
Cost:
$0.090923
Provider:
Z.AI

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 gap between the two oak stones was narrower than her shoulders, and Nyx wanted her through it sideways. "Out-breath held. Old doors resent a stubborn guest." "You're smoke with opinions. Pour yourself through the cracks." "Threshold law. Shadow follows flesh, never the reverse. Go on, Rory Carter." Fine. Her own skeleton was the last obstacle between her and the Seer. Three nights they had hunted this ring of oaks in Richmond Park, three nights of Nyx tasting shadows for the flavour of a door, and now that they had found one, the door objected to her shoulders. She emptied her lungs, twisted, and shoved. Warm wood rasped her anorak. The oak groaned like a man hauled out of a good chair, and spat her into summer. The frost ended between one step and the next. Warm air closed over her, thick as a June greenhouse, sweet with cut grass and honey and something riper underneath, apples going soft in a bowl. Light came from everywhere and nowhere, a gold-green glow with no sun in it, and the distant growl of the A3 had vanished from the world. In its place, bees. Fat golden bees drowsing through the air with the low hum of an orchestra tuning. Behind her, shadow poured through the seam between the stones. It pooled, gathered, stood. And then Nyx did something Rory had never seen them do. They had edges. The Grove's light gave them a jawline, knuckles, the suggestion of an old coat with its buttons worn to brass. Nyx raised both hands and turned them over, slow, like a man reading a letter he had long feared lost. "I had hands like these once." "Creepy. Keep them to yourself." "This place lends me the memory of a body. I mistrust lenders." Rory checked her phone. No bars, no wifi, and the clock read 21:52, which was cheerful of it, given they had stepped in at half four. She counted ten seconds out loud. The digits rolled from 21:53 to 22:07 while she said them. "Time's broken." "Time is honest here. It is your world that lies." They walked. Wildflowers crowded to her knees, cornflowers the colour of bruises, ox-eye daisies, foxgloves taller than she was, none of them in season anywhere on Earth. Every bloom faced her. Not the way flowers face the sun, because there was no sun, but the way a crowd faces a speaker. When Nyx drifted close, the nearest flowers folded shut, petal by petal, like small hands making fists. Birdsong started when she walked and stopped when she stopped. She tested it three times. It passed the test every time. A bee landed on her knuckle. Its fuzz was warm, and where it walked it left prints of gold dust that glowed for a breath and faded. The path found them before they found it, a line of grass pressed flat, zigzagging downhill between the flowerbeds. Rory knelt at its edge. The mud beside it drank her boot print, deep and clean. The pressed grass itself held nothing. No hoof, no heel, no claw. "Something light walks here." "Or someone." They followed it down. The Grove deepened, and the trees changed. Fruit hung from the branches now, pale plums the colour of candle wax, heavy over the path. The smell hit her the way a wave hits from behind: her mum's apple cake straight from the oven, birthday candles, salt and vinegar chips on the seafront at Porthcawl in Eva's rust-bucket of a car with the windows down. Her hand rose all on its own. Cold fingers closed around her wrist. "Eat nothing." "It's fruit." "It is bait. Fae hospitality is a hook dressed as a garden. Swallow once and you sit at their table forever, hungry, and the feast never fills." She pulled her hand back. The nearest branch swung, though no wind moved. The leaves overhead began to hiss. Not wind-hiss. Word-hiss. The sound sharpened into three syllables, repeated, patient, the way you repeat a name at a door. Malphora. Her mouth shaped it before her brain agreed, and it fit like a key fits a lock, which was the problem. The flowers shivered, all of them at once. Nyx went still as a dead flame. "Do not answer." "I didn't say anything." "You said it with your teeth. Names are nails, Rory. That one will pin you to a table you cannot see. Let the leaves keep their word." Her thumb found the crescent scar on her left wrist and rubbed it raw while they walked. The Seer had better be worth this. The path curled down into a hollow, and the Grove saved its best trick for last. A pool lay at the bottom, round as a coin, ringed by a hawthorn strung with hundreds of scraps of cloth, bleached grey and new red, all fluttering in wind that did not exist. The pool's surface held a night sky, deep and starred, though above her the Grove glowed its sourceless noon. And beneath those reflected stars, down in the water, stood a second grove, upside down, its trees bearing fruit she did not look at twice. A woman with silver hair to her waist stood at the water's edge, barefoot in the mud, humming. The pressed-grass path ended at her feet. No prints anywhere near her. Not one. The humming stopped. She turned, and her eyes were pale lavender, and she smiled the way a door smiles when it opens. "Malphora. Late, as ever. You have been late for three hundred years and nine days, so a few minutes more hardly signifies." "That's not my name." "No. Rory is the name at your door. Malphora is the name at your table. Doors and tables are tonight's subjects, so mind which one you answer to." Rory's thumb went back to the scar. "You're Isolde." "Called that here. Elsewhere I am called worse, and earlier, and by things with too many teeth." Her gaze slid past Rory's shoulder. "Hello, Aldric." Nyx's edges guttered like a candle in a draught. "You have the wrong dead man, lady." "I never have the wrong dead man. My pools show me a circle in 1643, a clever man, a door that shut on him. The between-places remember you, Aldric. So does the table that set your place." "Enough." Rory filed that away with the stack of questions Nyx owed her, then dug the pendant out of her collar. The deep crimson stone hung dark and quiet on its silver chain, as it had been for three weeks, ever since someone had slipped it into her delivery pouch between an order of salt and pepper ribs and a tub of prawn crackers. No note. No face on the shop's cameras. "Start with this. Who put it in my bag?" "A cook." The word dropped into the hollow and sat there, greasy and wrong. "What cook?" "One who means to feed you." Isolde stepped closer, and where she stepped, the mud stayed smooth. "Dymas minted that stone. Gluttony's realm, Prince Belphegor's pantry. It stirs when a door out of Hel stands near. That is its nature. Hear its purpose. It is not a compass, child. It is a place card." "I don't follow." "You do not have to eat, Malphora. You only have to attend." "In nine days the sun bottoms out. The Veil wears thin as breath on glass, and every door left ajar swings wide." Her lavender eyes travelled the hollow, the pool, the hawthorn and its trembling rags. "This grove is a door left ajar. And you, clever girl, carried a place card through it." The cold landed in Rory's stomach before the thought did. "So coming here was a mistake." "Coming here was on time. I told you. Late for three hundred years, punctual tonight." Isolde knelt at the hawthorn's roots and drew out a bundle of grey linen, long and slim. She unwound it. Inside lay a dagger, slender and leaf-shaped, its moonsilver blade carrying a faint glow, like moonlight pooled in a spoon. Cold breathed off it. "A gift. Forged in the courts that exiled me. It cuts what wards keep whole, and it is unkind to things out of Hel. It will never warm in your hand. That is its honesty." Rory took it. The hilt bit her palm, and the ache crawled up her wrist to the old scar. "Why give me this?" "In my country, a gift is a debt with lovely manners. Carry it. Nine days is a long time to be the only thing at a table that can cut." The pendant woke. Heat bloomed against her sternum, quick and greedy. The stone pulsed, once, twice, a heartbeat out of sync with her own, its glow lighting the inside of her coat like a coal. Isolde's head snapped up. The smile shut like a door. "Nine days early. The host is hungry." The gold-green light dimmed. Above the pool, the air split along a seam and folded back, and amber light poured through, thick as syrup. The smell arrived ahead of everything else, roast fat and burnt sugar, woodsmoke and vinegar, a kitchen at full roar. The wildflowers browned in a widening ring. Bees dropped from the air and lay curled on the path. In the pool, the reflected stars went out one by one, like candles pinched by a waiter's fingers. The seam stretched and became an arch. Beyond it stood rows of orchards under a warm amber sky, strings of lanterns, and the long white gleam of a table set for a feast. Nyx poured between Rory and the arch, violet eyes blazing, edges sharp enough to cut. Frost feathered down the moonsilver blade in her fist. Somewhere beyond the arch, a bell tolled. Once. Twice. A dinner bell, in a house where no one dared be late. Then the voice, warm as dripping fat and polite as a maître d', came through the arch and said: "Your table is ready."
created_at"2026-09-02T10:13:33.389Z" 9/2/2026, 10:13:33 AM
model"z-ai/glm-5.3-20260816"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3816
moderation_latency(null)
generation_time416569
tokens_prompt5142
tokens_completion19678
native_tokens_prompt4929
native_tokens_completion19096
native_tokens_completion_images(null)
native_tokens_reasoning16905
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.090923
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user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
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request_id"req-1788344013-BxFJqrYsHPV2gTFtZQza"
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api_type"completions"
id"gen-1788344013-agh0qiT0n1EL76oaFogR"
upstream_id"20260902181333449a4012cbee469a"
provider_responses
0
endpoint_id"db975786-e7f6-4838-9e56-3e0b77f1bdc2"
id"20260902181333449a4012cbee469a"
is_byokfalse
latency3816
model_permaslug"z-ai/glm-5.3-20260816"
provider_name"Z.AI"
status200
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cache_discount(null)
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data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences41
tagDensity0.098
leniency0.195
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1672
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
94.02% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1672
totalAiIsms2
found
0
word"stomach"
count1
1
word"pulsed"
count1
highlights
0"stomach"
1"pulsed"
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
narrationSentences102
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences102
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences139
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1672
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1199
uniqueNames11
maxNameDensity0.75
worstName"Nyx"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Nyx9
Seer2
Richmond1
Park1
June1
Rory9
Grove4
Earth1
Porthcawl1
Eva1
Isolde3
persons
0"Nyx"
1"Seer"
2"Rory"
3"Grove"
4"Eva"
5"Isolde"
places
0"Richmond"
1"Park"
2"Porthcawl"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.598
wordCount1672
matches
0"Not the way flowers face the sun, because there was no sun, but the way a crowd faces a speaker"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences139
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs73
mean22.9
std24
cv1.048
sampleLengths
019
18
29
312
479
580
625
73
840
96
105
1112
1243
132
1410
1568
1621
1727
1847
194
202
2175
226
232
242
2527
2613
2726
281
2936
303
314
3227
3324
3494
3518
3614
3722
3822
394
4028
417
422
4325
449
457
4637
471
4871
499
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences102
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs175
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences139
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1209
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.022332506203473945
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences139
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences139
mean12.03
std9.9
cv0.823
sampleLengths
019
18
29
312
41
512
637
77
85
917
109
1126
1226
134
1415
1510
164
1711
183
1920
2020
216
225
2312
244
2522
266
2711
282
2910
302
3125
324
3320
3417
3510
365
376
386
3921
4019
415
4211
436
446
454
462
474
487
4917
68.59% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.4460431654676259
totalSentences139
uniqueOpeners62
71.68% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences93
matches
0"Somewhere beyond the arch, a"
1"Then the voice, warm as"
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount17
totalSentences93
matches
0"Her own skeleton was the"
1"She emptied her lungs, twisted,"
2"It pooled, gathered, stood."
3"They had edges."
4"She counted ten seconds out"
5"She tested it three times."
6"It passed the test every"
7"Its fuzz was warm, and"
8"They followed it down."
9"Her hand rose all on"
10"She pulled her hand back."
11"Her mouth shaped it before"
12"Her thumb found the crescent"
13"She turned, and her eyes"
14"Her gaze slid past Rory's"
15"Her lavender eyes travelled the"
16"She unwound it."
ratio0.183
78.28% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount71
totalSentences93
matches
0"The gap between the two"
1"Her own skeleton was the"
2"She emptied her lungs, twisted,"
3"The oak groaned like a"
4"The frost ended between one"
5"Light came from everywhere and"
6"It pooled, gathered, stood."
7"They had edges."
8"The Grove's light gave them"
9"Nyx raised both hands and"
10"Rory checked her phone."
11"She counted ten seconds out"
12"The digits rolled from 21:53"
13"Wildflowers crowded to her knees,"
14"Every bloom faced her."
15"Birdsong started when she walked"
16"She tested it three times."
17"It passed the test every"
18"A bee landed on her"
19"Its fuzz was warm, and"
ratio0.763
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences93
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount2
matches
0"Her mouth shaped it before her brain agreed, and it fit like a key fits a lock, which was the problem."
1"A pool lay at the bottom, round as a coin, ringed by a hawthorn strung with hundreds of scraps of cloth, bleached grey and new red, all fluttering in wind that …"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"Her lavender eyes travelled, the pool, the hawthorn and its trembling rags"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
89.8634%