Run: 2026-09-23-01M37PATXYZYHJ25W2JBRKFN2W

Run Details

Duration:
1m 8s
Cost:
$0.120556
Provider:
Claude Platform on AWS

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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
Quinn's shoulder hit the bins before the rest of her did. Plastic cracked. Something wet and rotten slopped across her boots. She rolled off the pile, found her feet, and kept moving, because the man in the grey hoodie had already reached the end of the alley and he wasn't slowing down. "Metropolitan Police! Stop!" He didn't stop. They never did. Eighteen years of shouting those words, and she could count on one hand the number of people who'd listened. The alley spat her out onto Chalk Farm Road. Rain hammered the tarmac in sheets, turning the streetlights into smeared orange halos. A night bus hissed past, its windows fogged, a single passenger slumped against the glass. The hoodie cut straight across its path. Horn. Brakes. Nothing. He was already on the far pavement, weaving between the shuttered stalls of the market, and Quinn followed through the spray. Her lungs burned. Forty-one wasn't old. Her knees disagreed. She'd clocked him an hour ago outside the Raven's Nest, stepping out beneath that sick green neon with a canvas holdall slung over one shoulder. Olive skin. Curly dark hair plastered flat by the rain. A face she'd pulled from three separate witness statements, each of them describing a man who'd arrived at a stabbing, a hit-and-run and an overdose. The same man every time, stitching wounds that should have killed people, then vanishing before the ambulance arrived. Tomás Herrera. Struck off by the General Medical Council. No forwarding address. He'd spotted her tailing him on Wardour Street. She'd give him that. Good eyes. The stalls gave way to the dark hulk of the old railway arches. Herrera ducked left. Quinn closed the gap, ten metres, eight, near enough to hear his trainers slapping the flagstones and the ragged saw of his breathing. He glanced back. Mistake. His foot caught a loose paving slab and he stumbled, arms pinwheeling, and she lunged. Her fingers closed on the holdall strap. "Let go!" "Not a chance." He twisted. The strap tore free at the stitching, and the bag burst open between them. Gauze. Suture kits. A bottle of something amber that shattered on the kerb and filled the air with a smell like burnt cloves. Herrera wrenched away, leaving her holding a limp length of canvas, and sprinted on. Quinn almost followed. Almost. But something small and pale skittered across the wet stone and came to rest against her boot, and eighteen years of habit made her crouch and snatch it up. A knuckle bone. Smooth as river glass, yellowed with age, carved with a spiral of tiny marks she didn't recognise. It felt warm. Warmer than it had any right to be in this cold. She shoved it in her coat pocket and ran. Herrera had a lead again, but she could see where he was heading now. At the end of the arches squatted a building she'd driven past a hundred times and never looked at twice: an old Tube station, its frontage clad in those ox-blood tiles the Victorians loved, the arched windows bricked up, the entrance sealed behind a rusted grille plastered with fly-posters for bands long since split. Closed since before the war. Every Londoner knew a dozen like it. Ghost stations. Dead ends. Herrera didn't treat it like a dead end. He went straight for a service door set into the side wall, yanked it open, and disappeared. Quinn skidded to a halt in front of it. Rain drummed on the steel. Water sheeted off the lintel and ran down her collar. The door stood ajar, a black slot of nothing, and from somewhere far below drifted a sound she couldn't place. Voices, she thought. Hundreds of them. And music, thin and reedy, a tune that didn't sit right in any key she knew. She reached for her radio. Stopped. Three years ago, Morris had called in from a derelict pumping station in Rotherhithe. Just a quick look, Harlow. Back in ten. She'd found his car the next morning with the engine still running and the driver's door open. No body. No blood. Just his warrant card lying on the seat, the leather gone black and brittle like something had scorched it from the inside. Nobody at the Yard had wanted to hear her theories. Nobody wanted to hear them now. She let go of the radio. Drew her baton instead, racked it to full length with a flick of her wrist, and stepped through the door. Stairs. Old ones, spiralling down, the steel treads worn to a dull shine by feet that had no business being here. The air changed with every turn. Colder at first, damp and mineral, the smell of every Underground platform she'd ever stood on. Then warmer. Thicker. Incense and hot fat and something sharper beneath it, a coppery tang that coated her tongue. The voices swelled. The strange music wound tighter. At the bottom, the stairwell opened onto a ticket hall, and a man stood in her way. Not a man. She corrected herself on the second look, and then refused to acknowledge the correction. Tall, thin, draped in a coat cut from what looked like dozens of different tweeds stitched together. His face sat too long for his skull. His eyes held no whites at all. Behind him, through an archway choked with hanging lanterns, she glimpsed the platform. Stalls crammed shoulder to shoulder along its length, lit in reds and golds and a bruised, chemical violet. Figures moving between them. Some of them walked wrong. The doorman held out one long hand, palm up. "Token." "Police. I'm pursuing a suspect." "Token." "You didn't hear me. Detective Inspector Quinn. A man came through here ten seconds ago. Curly hair, grey hoodie. Step aside." The hand didn't move. The head tilted, birdlike, and something in the doorman's throat clicked. "Your badges open doors up there, Detective. This isn't up there." The whiteless eyes dropped to her coat. "But you're carrying one. I can smell it. Warm little thing. Someone gave you a gift." Her fingers found the knuckle bone in her pocket. It pulsed against her skin like a heartbeat. Every instinct she owned told her to turn round. Climb the stairs. Call it in. Put a van outside at dawn and do this properly, with warrants and backup and a dozen uniforms who'd make statements if she didn't come back. But Herrera would be gone by dawn. And so would this place. She knew it the way she knew a lie when she heard one. The whole market had the feel of a thing about to fold itself up and slip away. She pulled out the bone and dropped it into the doorman's palm. His fingers closed over it. He smiled, and his mouth kept going long after a human smile would have stopped. "Welcome to the Veil Market. Mind the gap." He stepped aside. Noise hit her like heat from an oven door. Haggling in a dozen languages, half of which she'd never heard. A woman selling songbirds in cages of woven hair, every bird silent, every beak stitched shut. A stall stacked with jars of murky liquid, each labelled in a spidery hand: Grief, Fresh. Courage, Diluted. Last Words, Assorted. A butcher's block where something hung that had once had wings. Quinn kept her baton low against her thigh and her eyes moving. There. Halfway down the platform, a flash of grey. Herrera, bent double beside a stall draped in black velvet, arguing with its keeper. She pushed through the crowd. Bodies shifted around her, some too soft, some too hard. Somebody's breath smelled of wet earth. A child with a mouth full of needle teeth watched her pass and licked its lips. "Por favor, I need it tonight. She's dying. She won't last until-" "You know the price, healer." "I brought payment. I had it. The bag-" "Then you have nothing." Quinn stopped a pace behind him. "Tomás Herrera." He spun round. Up close, he looked younger than his file. Rain dripped from his curls. A Saint Christopher medallion swung at his throat, and a pale ridge of scar tissue ran the length of his left forearm where he'd shoved his sleeve up. His warm brown eyes went wide, then flat with something that wasn't quite fear. "Dios mío. You followed me down here?" "You ran. I chase. That's how this works." "No, no, you don't understand, Inspector. You don't have a token. How did you…" His gaze dropped to her empty hand. Understanding arrived, and with it, horror. "You used mine." "It was on the pavement." "It was for her!" His voice cracked. He dragged both hands down his face. "That token was payment. For medicine. For a girl who's bleeding out in a back room in Soho because nobody up there can fix what's wrong with her. And you gave it to Silvanus at the door like a bus ticket." "Then come upstairs and tell me about her. Tell me about all of them. The stabbing on Greek Street. The overdose in Kentish Town. You were there, Tomás. Every time." "I was there because nobody else would come." "So come up and say that on the record." He laughed. It wasn't a nice sound. "On the record. Up there, I'm a quack who lost his licence. Down here, I keep people breathing." He leaned closer, dropping his voice. "And you, Inspector, have just walked into the one place in London where your warrant card means nothing. Less than nothing. You know what they call police down here?" She didn't answer. "Stock." Behind the velvet stall, the keeper stirred. Quinn had taken it for a pile of shawls. It unfolded, and kept unfolding, until a shrunken grey face peered out from somewhere near the top, wrinkled as a walnut, with eyes like two drops of oil. "Quinn." The voice rasped like a page turning. "Harlow Quinn. I wondered when you'd come." The platform noise dimmed. Not all at once. In a ripple, spreading outward, stall by stall, as heads turned. "You know me?" "I know the man who spoke your name. Spoke it over and over." A withered hand emerged from the shawls, holding something flat and black and brittle. Leather, scorched from the inside out. The crest of the Metropolitan Police still faintly visible on the cover. "He sold me this, you see. When he had nothing else left to sell." Her mouth went dry. Morris's warrant card. The one she'd bagged as evidence. The one she'd signed into the property store at Charing Cross three years ago. "That's impossible." "Everything down here is impossible, dearie. That's why it's so expensive." The oily eyes glittered. "Your partner still owes me. Interest has been piling up. And family pays family's debts. Partners too." Herrera grabbed her arm. His grip was iron. "Run," he hissed. "Now." Behind her, the lanterns over the archway guttered and died. A heavy iron gate slammed down across the exit with a sound like a church bell, and the whole Veil Market, every stall, every silent songbird, every thing with too many joints, turned to face her. Somewhere in the dark, Silvanus began to laugh.
created_at"2026-09-23T17:52:05.603Z" 9/23/2026, 5:52:05 PM
model"anthropic/claude-opus-5.5-20260921"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4624
moderation_latency(null)
generation_time67759
tokens_prompt4484
tokens_completion2991
native_tokens_prompt6519
native_tokens_completion4724
native_tokens_completion_images(null)
native_tokens_reasoning940
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"end_turn"
service_tier"default"
usage0.120556
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
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request_id"req-1790185925-stxuSnrNvQ2GjlT2BVQT"
session_id(null)
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api_type"completions"
id"gen-1790185925-ZbIs02nKOqNRGd3mSMIt"
upstream_id"msg_011CfLoAYNwM6rhPCAqvPq2b"
provider_responses
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endpoint_id"3a2388bc-3740-4e64-a1f5-4e301726b6b9"
id"msg_011CfLoAYNwM6rhPCAqvPq2b"
is_byokfalse
latency1459
model_permaslug"anthropic/claude-opus-5.5-20260921"
provider_name"Claude Platform on AWS"
status200
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upstream_inference_cost0
provider_name"Claude Platform on AWS"
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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
totalTags8
adverbTagCount1
adverbTags
0"The voice rasped like [like]"
dialogueSentences38
tagDensity0.211
leniency0.421
rawRatio0.125
effectiveRatio0.053
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1871
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)
86.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1871
totalAiIsms5
found
0
word"shattered"
count1
1
word"pumping"
count1
2
word"pulsed"
count1
3
word"velvet"
count2
highlights
0"shattered"
1"pumping"
2"pulsed"
3"velvet"
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
narrationSentences165
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences165
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences195
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
totalWords1871
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions54
wordCount1522
uniqueNames37
maxNameDensity0.53
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Chalk1
Farm1
Road1
Quinn8
Raven1
Nest1
Herrera8
General1
Medical1
Council1
Wardour1
Street1
Tube1
Victorians1
Londoner1
Morris2
Rotherhithe1
Harlow1
Yard1
Underground1
Grief1
Fresh1
Diluted1
Words1
Assorted1
Saint1
Christopher1
Understanding1
Leather1
Metropolitan1
Police1
Charing1
Cross1
Veil1
Market1
Silvanus1
Rain3
persons
0"Quinn"
1"Nest"
2"Herrera"
3"Victorians"
4"Londoner"
5"Morris"
6"Saint"
7"Christopher"
8"Understanding"
9"Leather"
10"Market"
11"Silvanus"
12"Rain"
places
0"Chalk"
1"Farm"
2"Road"
3"Raven"
4"Wardour"
5"Street"
6"Rotherhithe"
7"Charing"
globalScore1
windowScore1
98.45% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences97
glossingSentenceCount2
matches
0"looked like dozens of different tweeds st"
1"quite fear"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1871
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences195
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs78
mean23.99
std22.06
cv0.92
sampleLengths
011
141
23
325
468
59
678
712
814
958
107
112
123
1353
1433
1534
169
1784
1825
199
2057
216
2265
2316
2426
2562
268
2717
2849
2940
309
311
325
331
3421
3515
3634
3717
3841
3942
4012
4120
428
433
4468
4512
4660
4712
485
498
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences165
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs255
matches
0"wasn't slowing"
1"was heading"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences195
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1527
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.02619515389652914
lyAdverbCount5
lyAdverbRatio0.0032743942370661427
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences195
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences195
mean9.59
std8.38
cv0.873
sampleLengths
011
12
28
331
43
53
63
719
89
913
1015
117
121
131
141
1521
163
173
183
1925
202
218
2225
2318
242
257
263
278
284
292
3013
313
3223
333
341
3515
367
372
383
392
4014
411
422
4320
4414
453
461
4729
483
4917
75.38% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.47692307692307695
totalSentences195
uniqueOpeners93
70.92% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences141
matches
0"Just a quick look, Harlow."
1"Just his warrant card lying"
2"Somewhere in the dark, Silvanus"
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences141
matches
0"She rolled off the pile,"
1"He didn't stop."
2"They never did."
3"He was already on the"
4"Her lungs burned."
5"Her knees disagreed."
6"She'd clocked him an hour"
7"He'd spotted her tailing him"
8"She'd give him that."
9"He glanced back."
10"His foot caught a loose"
11"Her fingers closed on the"
12"It felt warm."
13"She shoved it in her"
14"He went straight for a"
15"She reached for her radio."
16"She'd found his car the"
17"She let go of the"
18"She corrected herself on the"
19"His face sat too long"
ratio0.284
91.21% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount104
totalSentences141
matches
0"Quinn's shoulder hit the bins"
1"Something wet and rotten slopped"
2"She rolled off the pile,"
3"He didn't stop."
4"They never did."
5"The alley spat her out"
6"A night bus hissed past,"
7"The hoodie cut straight across"
8"He was already on the"
9"Her lungs burned."
10"Her knees disagreed."
11"She'd clocked him an hour"
12"A face she'd pulled from"
13"The same man every time,"
14"He'd spotted her tailing him"
15"She'd give him that."
16"The stalls gave way to"
17"Herrera ducked left."
18"Quinn closed the gap, ten"
19"He glanced back."
ratio0.738
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences141
matches(empty)
ratio0
70.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences59
technicalSentenceCount6
matches
0"Eighteen years of shouting those words, and she could count on one hand the number of people who'd listened."
1"A face she'd pulled from three separate witness statements, each of them describing a man who'd arrived at a stabbing, a hit-and-run and an overdose."
2"The same man every time, stitching wounds that should have killed people, then vanishing before the ambulance arrived."
3"Old ones, spiralling down, the steel treads worn to a dull shine by feet that had no business being here."
4"Incense and hot fat and something sharper beneath it, a coppery tang that coated her tongue."
5"His warm brown eyes went wide, then flat with something that wasn't quite fear."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount1
fancyTags
0"he hissed (hiss)"
dialogueSentences38
tagDensity0.026
leniency0.053
rawRatio1
effectiveRatio0.053
93.0941%