Run: 2026-09-03-01M1KBJY33BDNMWFEZRV5CPR0B

Run Details

Duration:
1m 6s
Cost:
$0.019155
Provider:
Together

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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 chain rattled against the doorframe before the third knock landed. Aurora froze with her hand on the deadbolt, the metal cold under her fingers. Three locks. Eva had installed them after the last break-in, and now they felt like a countdown. "Rory." The voice came through the wood, low and familiar. "I know you're there. I can hear you breathing." She pressed her palm flat against the door. The wood vibrated with the weight of him on the other side. Ptolemy wound between her ankles, tail flicking. "Go away, Lucien." "I brought your mail." A pause. "And a bottle of something that will make this conversation less awful." "I don't want the conversation." "Then open the door and take the wine. We can stand in silence. I'm excellent at silence." She almost laughed. Almost. The sound caught in her throat and turned into something sharper. She flipped the first deadbolt. "You've got thirty seconds." The second deadbolt turned with a click that echoed in the cramped flat. The third stuck, as it always did, and she had to shove her shoulder against the door to free it. When she pulled it open, Lucien Moreau stood in the dim hallway light, one hand resting on his ivory-handled cane, the other holding a bottle of red wine by the neck. He looked exactly the same. That was the worst part. The slicked-back platinum hair, the charcoal suit that probably cost more than her monthly rent, the heterochromatic eyes that had once made her feel like the only person in a crowded room. One amber, one black. Both fixed on her now. "You look well," he said. "I look like someone who just finished a twelve-hour shift delivering noodles." She crossed her arms. "What do you want?" "May I come in? The hallway has a smell." "It's Brick Lane. Everything has a smell." "True. But your flat has wine." He lifted the bottle. "Château Margaux. 2015. I've been saving it." "For what?" He tilted his head. "For when I needed to apologise." The word hung between them. Aurora felt Ptolemy press against her leg, as if the cat understood the weight of it. She stepped back, leaving the doorway open. "Thirty seconds," she repeated. "Starting now." Lucien moved past her with that fluid grace that had always made her think of smoke. He set the wine on the cluttered kitchen counter, pushing aside a stack of research notes Eva had left scattered across every surface. His fingers brushed the edge of a scroll, and he glanced at it, then at her. "Still living in Eva's chaos?" "Still avoiding the question." He turned to face her, leaning on the cane. The flat was too small for him. It had always been too small for him. He filled the space between the kitchen and the sofa, his presence pressing against the walls. "I was in Paris," he said. "For three months. Business." "I know. You told me." "I didn't tell you everything." Aurora moved to the kitchen, keeping the counter between them. She pulled a corkscrew from the drawer and went to work on the wine. The motion gave her something to do with her hands. "You never tell me everything, Lucien. That's rather the point." "I told you enough." "Enough to get me shot at." The cork came free with a pop. She didn't reach for glasses. "Enough to leave me standing in a warehouse in Croydon with a demon who wanted to peel my skin off. But not enough to tell me you were leaving the country." Lucien's jaw tightened. The amber eye seemed to brighten, just for a moment, before he looked away. "That was the point," he said quietly. "If you didn't know where I was, you couldn't follow." "I wasn't going to follow you." "You followed me to Croydon." "You asked me to." "I asked you to wait in the car." Aurora poured wine into two mismatched glasses. One said 'World's Best Flatmate' in fading gold letters. The other was plain, chipped at the rim. She pushed the chipped one toward him. "Your thirty seconds are up," she said. "Say what you came to say." Lucien picked up the glass but didn't drink. He turned it in his fingers, watching the wine catch the light from the single bulb overhead. "I came to tell you that the man who hired the demon in Croydon is dead." The words landed like stones in still water. Aurora felt the ripple move through her chest. "Dead how?" "Dead by my hand." He said it without inflection, as if he were discussing the weather. "It took three months. He was careful. But not careful enough." "You killed him." "I did." "For me?" Lucien set the glass down untouched. He moved around the counter, and Aurora forced herself not to step back. He stopped close enough that she could smell his cologne, something dark and expensive, undercut by the faint metallic tang that always clung to him. "I killed him because he hurt you," Lucien said. "Because he would have kept hurting you. Because the world is better without him in it." He paused. "And yes, Rory. For you." She should have felt relief. Gratitude. Instead, she felt the old anger rise, hot and familiar. "You left me here with no word. No warning. I spent weeks looking over my shoulder, waiting for someone else to come through that door." She gestured toward the three deadbolts. "Eva installed those because of what happened. Because of what you dragged me into." "I know." "Do you? Do you know what it's like to wake up every night at three a.m., certain you heard footsteps on the stairs? To flinch every time a car backfires on Brick Lane?" Lucien's hand moved, and before she could react, his fingers closed around her left wrist. Gently. His thumb brushed the small crescent-shaped scar there. "I know what it's like to be afraid," he said. "I know what it's like to lose someone because of what I am." "You didn't lose me." "Didn't I?" The question hung in the air. Aurora looked at his hand on her wrist, at the contrast between his pale skin and hers. She could feel his pulse through his fingertips, steady and slow. "You left," she said. "I came back." "For how long?" Lucien released her wrist. He stepped back, and the distance between them felt like a physical thing, a wound that hadn't healed. "That depends," he said, "on whether you want me to stay." Aurora picked up her wine glass and drank. The wine was good, rich and dark, and it did nothing to steady her. "I don't know what I want," she admitted. "I spent three months convincing myself I hated you. That I was glad you were gone. That I never wanted to see you again." "And now?" "Now you're standing in my kitchen with a bottle of Château Margaux, telling me you killed a man for me." She set the glass down. "It's a lot to process." Lucien's mouth curved into something that wasn't quite a smile. "I could come back tomorrow. Give you time." "Time won't change anything." "Then what will?" She looked at him, at the sharp lines of his face, at the way the light caught the silver in his hair. She remembered the first time she'd seen him, in the back room of the Golden Empress, negotiating with Yu-Fei in rapid Cantonese. She remembered the way he'd looked at her then, like he'd already decided she was his. "I need to know," she said slowly, "that the next time you leave, you'll tell me. That you won't just disappear." "I can't promise that." "Then we have nothing to talk about." She moved toward the door, but Lucien's cane came up, blocking her path. The ivory handle pressed against the wall beside her head. "I can't promise because the work I do is dangerous," he said. "Because there are people who would use you to get to me. Because every time I tell you where I'm going, I put you at risk." "So you'd rather leave me in the dark?" "I'd rather keep you alive." Aurora met his gaze. The black eye seemed to swallow the light, and for a moment, she saw something move behind it, something old and hungry. "I'm not a child, Lucien. I'm not some fragile thing you need to protect." "I know exactly what you are." His voice dropped. "That's the problem." The air between them crackled. Aurora could feel the heat of him, the tension coiled in his shoulders. She remembered what it felt like to be pressed against him, to feel his hands on her skin, his mouth on her throat. "Then stop treating me like one," she said. Lucien's free hand came up, and his fingers brushed her jaw. Light as a breath. She didn't pull away. "I spent three months in Paris," he said, "thinking about you. About the way you looked at me that night in Croydon. Like I was a monster." "You are a monster." "Yes." His thumb traced the line of her cheekbone. "But I'm your monster." The words should have repulsed her. Instead, they sent a shiver down her spine. She could feel the pull of him, the gravity that had drawn her in from the very first moment. "Lucien..." "Tell me to leave," he said. "Tell me you don't want this, and I'll walk out that door. I won't come back." She opened her mouth to say it. The words were there, waiting on her tongue. But they wouldn't come. Instead, she grabbed the lapel of his jacket and pulled him down to her. The kiss was nothing like she remembered. It was harder, hungrier, three months of anger and fear and longing poured into a single moment. Lucien's cane clattered to the floor, and his hands found her waist, pulling her against him. She could feel the solid weight of him, the heat of his body through the expensive fabric of his suit. He broke the kiss first, his forehead pressed against hers, his breath ragged. "I should have told you," he said. "I should have found a way." "Yes." She fisted her hands in his jacket. "You should have." "I'm sorry." "Show me." His eyes darkened. The amber one flared, and for a moment, she saw the demon beneath the surface, the thing that lived behind his carefully constructed mask. "Rory..." "Show me," she repeated. "Show me why I should let you stay." Lucien's hands tightened on her waist. He lifted her onto the edge of the counter, stepping between her legs, and the world narrowed to the two of them, to the heat and the hunger and the three months of silence that had stretched between them like a wound. Ptolemy meowed from somewhere near the sofa, and Aurora heard the sound of papers sliding to the floor as the cat knocked over another stack of Eva's research. Neither of them moved to stop it. "Eva's going to kill you," Lucien murmured against her throat. "Eva's not here." "Thank God for small mercies." His mouth found hers again, and Aurora stopped thinking. She stopped remembering the fear, the sleepless nights, the anger that had kept her company for three long months. There was only this, only him, only the taste of wine and regret and something that felt dangerously like hope. The knock on the door shattered the moment. They both froze. Aurora's heart slammed against her ribs. Lucien's hand went to the cane on the floor, his fingers closing around the ivory handle. "Rory?" Eva's voice came through the wood, muffled but unmistakable. "You home? I forgot my keys. Again." Lucien looked at Aurora. His expression was unreadable, but she saw the question in his eyes. "One second," Aurora called, her voice steadier than she felt. She slid off the counter, smoothing her rumpled shirt. "I'm coming." Lucien rose, retrieving his cane. He straightened his jacket with practiced ease, and by the time Aurora reached the door, he looked as immaculate as he had when he'd arrived. "Rory," he said quietly. She paused with her hand on the deadbolt. "We're not finished." It wasn't a question. She turned the lock. "No," she said. "We're not." The door swung open, and Eva burst in, all apologies and grocery bags and a tabby cat winding between her feet. She stopped short when she saw Lucien standing in the kitchen. "Oh," Eva said. "Oh, shit." Lucien smiled, and it didn't reach his eyes. "Hello, Eva. Lovely to see you again." Eva looked at Aurora, then back at Lucien, then at the open bottle of wine on the counter. Her expression shifted from surprise to something that looked a lot like dread. "What did I just walk into?" she asked. Aurora closed the door and slid the first deadbolt home. "Nothing," she said. "Yet."
created_at"2026-09-03T10:03:46.178Z" 9/3/2026, 10:03:46 AM
model"deepseek/deepseek-v4-pro-20260813"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency562
moderation_latency(null)
generation_time65915
tokens_prompt4383
tokens_completion3808
native_tokens_prompt4155
native_tokens_completion3452
native_tokens_completion_images(null)
native_tokens_reasoning622
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)
usage0.01915452
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788429826-T51shpQwRnUUhcCQaPv7"
session_id(null)
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api_type"completions"
id"gen-1788429826-lbYJc9BIihUKurEdzpnG"
upstream_id"2bdc799d-aws_ue2"
provider_responses
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endpoint_id"218b0cec-3278-4b88-8ee0-3f346eccd35f"
id"2bdc799d-aws_ue2"
is_byokfalse
latency562
model_permaslug"deepseek/deepseek-v4-pro-20260813"
provider_name"Together"
status200
total_cost0.01915452
cache_discount(null)
upstream_inference_cost0
provider_name"Together"
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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
totalTags36
adverbTagCount3
adverbTags
0"he said quietly [quietly]"
1"she said slowly [slowly]"
2"he said quietly [quietly]"
dialogueSentences111
tagDensity0.324
leniency0.649
rawRatio0.083
effectiveRatio0.054
90.75% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2161
totalAiIsmAdverbs4
found
0
adverb"gently"
count1
1
adverb"slowly"
count1
2
adverb"very"
count1
3
adverb"carefully"
count1
highlights
0"gently"
1"slowly"
2"very"
3"carefully"
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)
46.78% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2161
totalAiIsms23
found
0
word"familiar"
count2
1
word"vibrated"
count1
2
word"weight"
count3
3
word"silence"
count3
4
word"echoed"
count1
5
word"footsteps"
count1
6
word"could feel"
count4
7
word"pulse"
count1
8
word"tension"
count1
9
word"traced"
count1
10
word"down her spine"
count1
11
word"constructed"
count1
12
word"shattered"
count1
13
word"unreadable"
count1
14
word"practiced ease"
count1
highlights
0"familiar"
1"vibrated"
2"weight"
3"silence"
4"echoed"
5"footsteps"
6"could feel"
7"pulse"
8"tension"
9"traced"
10"down her spine"
11"constructed"
12"shattered"
13"unreadable"
14"practiced ease"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"hung in the air"
count1
1
label"sent a shiver through"
count1
highlights
0"hung in the air"
1"sent a shiver down"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences150
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences150
filterMatches
0"feel"
1"think"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences224
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2161
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions38
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions53
wordCount1413
uniqueNames9
maxNameDensity1.42
worstName"Lucien"
maxWindowNameDensity3
worstWindowName"Lucien"
discoveredNames
Lucien20
Moreau1
Ptolemy3
Eva7
Aurora18
Golden1
Empress1
Yu-Fei1
Cantonese1
persons
0"Lucien"
1"Moreau"
2"Ptolemy"
3"Eva"
4"Aurora"
5"Empress"
places(empty)
globalScore0.792
windowScore0.667
42.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount4
matches
0"felt like a countdown"
1"felt like a physical thing, a wound tha"
2"quite a smile"
3"felt like to be pressed against him, to"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2161
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences224
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs125
mean17.29
std14.88
cv0.861
sampleLengths
042
119
227
33
418
55
617
720
84
964
1051
115
1220
139
147
1517
162
1710
1828
196
2055
215
224
2340
2410
255
265
2734
2810
294
3049
3117
3217
336
345
354
368
3731
3813
3925
4016
4116
422
4327
443
452
462
4744
4832
4916
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences150
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs248
matches
0"were discussing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences224
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount797
adjectiveStacks0
stackExamples(empty)
adverbCount31
adverbRatio0.03889585947302384
lyAdverbCount7
lyAdverbRatio0.00878293601003764
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences224
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences224
mean9.65
std7.24
cv0.751
sampleLengths
011
114
22
315
410
59
68
712
87
93
106
1112
125
1317
143
151
1611
175
184
1913
2020
2131
225
235
2432
254
265
275
2816
294
309
317
3210
337
342
354
366
375
3816
397
404
412
4216
4323
4416
455
464
479
487
498
42.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.26339285714285715
totalSentences224
uniqueOpeners59
80.65% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences124
matches
0"Instead, she felt the old"
1"Instead, they sent a shiver"
2"Instead, she grabbed the lapel"
ratio0.024
39.35% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences124
matches
0"She pressed her palm flat"
1"She almost laughed."
2"She flipped the first deadbolt."
3"He looked exactly the same."
4"She crossed her arms"
5"He lifted the bottle"
6"He tilted his head."
7"She stepped back, leaving the"
8"He set the wine on"
9"His fingers brushed the edge"
10"He turned to face her,"
11"It had always been too"
12"He filled the space between"
13"She pulled a corkscrew from"
14"She didn't reach for glasses."
15"he said quietly"
16"She pushed the chipped one"
17"He turned it in his"
18"He said it without inflection,"
19"He moved around the counter,"
ratio0.452
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount116
totalSentences124
matches
0"The chain rattled against the"
1"Aurora froze with her hand"
2"Eva had installed them after"
3"The voice came through the"
4"She pressed her palm flat"
5"The wood vibrated with the"
6"Ptolemy wound between her ankles,"
7"She almost laughed."
8"The sound caught in her"
9"She flipped the first deadbolt."
10"The second deadbolt turned with"
11"The third stuck, as it"
12"He looked exactly the same."
13"That was the worst part."
14"The slicked-back platinum hair, the"
15"Both fixed on her now."
16"She crossed her arms"
17"He lifted the bottle"
18"He tilted his head."
19"The word hung between them."
ratio0.935
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences124
matches(empty)
ratio0
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount4
matches
0"The slicked-back platinum hair, the charcoal suit that probably cost more than her monthly rent, the heterochromatic eyes that had once made her feel like the o…"
1"Aurora felt Ptolemy press against her leg, as if the cat understood the weight of it."
2"The amber one flared, and for a moment, she saw the demon beneath the surface, the thing that lived behind his carefully constructed mask."
3"She stopped remembering the fear, the sleepless nights, the anger that had kept her company for three long months."
83.33% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags36
uselessAdditionCount3
matches
0"He said, as if he were discussing the weather"
1"Eva's voice came through, muffled but unmistakable"
2"Aurora called, her voice steadier than she felt"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags25
fancyCount4
fancyTags
0"she repeated (repeat)"
1"she admitted (admit)"
2"she repeated (repeat)"
3"Lucien murmured (murmur)"
dialogueSentences111
tagDensity0.225
leniency0.45
rawRatio0.16
effectiveRatio0.072
81.6972%