Run: 2026-09-23-01M37PCW5EN0YA27QEM85DMRF4

Run Details

Duration:
1m 14s
Cost:
$0.027706
Provider:
AionLabs

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <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> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant burned through my coat before I reached the stones. Three nights it had been warming against my sternum, a coal under cotton. Three nights of me pressing my palm flat against it at the Golden Empress counter, telling myself it was a reaction to cheap silver. Then the note came under my door this evening. No signature. No fingerprints but mine on the paper. Just six words in ink so dark it looked wet: *Richmond. The old oaks. Alone.* So now I was climbing a perimeter fence in the dead hours, the way sane people do. Richmond Park after closing is its own country. The deer keep it. Everyone knows that. What nobody tells you is how it feels when four hundred acres go silent around you, when the distant growl of the A308 simply stops mid-breath, as though someone lifted the needle off the whole world. I walked. Gravel crunched, then grass swallowed my footsteps, then even the grass went quiet. My breath hung in front of me in little clouds. December air, sharp enough to taste, and yet the pendant against my chest stayed warm as a fresh mug of tea. The deer found me first. I caught the herd in my phone's torchlight, maybe thirty of them, standing in the black space between two oaks. Not grazing. Not moving. Every head turned the same direction, and every dark eye fixed on me as I passed. Ears pricked forward like they were listening to something on my side of the fence. Something I couldn't hear yet. "Evening," I said, because my mother raised me to be polite, even to wildlife. None of them blinked. I kept walking and felt their stares on my back the way you feel rain coming. The standing stones announced themselves by warmth. I swear that's true. The air around them carried a heat like a radiator left on in an empty room, and when I stepped between the first two oaks, the pendant flared so hot I hissed and pulled my coat open. Deep crimson. Thumbnail-sized. Glowing from the inside, a slow pulse like something sleeping. "Right," I said to the stones. "Message received." The gap between the oaks should have opened onto more park. Bracken, a fallen branch, the muddy track toward Pen Ponds. Instead there was light. Soft, sourceless, gold-green light spilling up out of the ground the way light spills up from a pool at night. And flowers. Wildflowers. In December. A whole clearing of them, ox-eye daisies and red campion and things I couldn't name, nodding gently in a breeze I couldn't feel on my face. I checked my phone. 03:33. I waited. Watched the screen. 03:33. The second hand on my watch had stopped. Not slowed, stopped, quivering in place like a fly that wanted to move and couldn't. *Time moves differently there.* I don't know where that thought came from. It arrived the way the note had, complete and uninvited, and it felt less like something I'd worked out and more like something someone had left inside my head for me to find. I stepped through anyway. Cool-headed, my friends call me. Stupid, my mother calls it. Inside, the grove was warm as a greenhouse and smelled of honey. Lovely, at first. Then, underneath the honey, something else. Something sweet that had turned. Flowers past their best, or meat past its. The smell sat at the back of my throat and waited. The clearing was maybe forty feet across, ringed by the oak stones, roofed by branches that shouldn't have met but did. No insects. That was the detail that made my scalp tighten. A December meadow full of bloom and not one gnat, one moth, one anything. Flowers without pollinators are a lie. Somebody had built this place to look alive and forgotten the small print. I made myself useful. I paced the perimeter, counting stones. Eleven. I paced it again. Twelve. The third time I got thirteen and stopped counting, because there are rules about places that can't hold a number, and I'd read enough of my father's old case files to know the feeling of a fact that wouldn't sit still. That's when the echoes started. My footsteps had been coming back to me wrong for a while. A half-beat late, like the grove was learning the sound and playing it back after me. I'd told myself it was the stones. Stone throws sound, that's all. Perfectly ordinary. But ordinary echoes stop when you stop. I stopped. The footsteps took two more strides and stopped a heartbeat after mine. I stood in the middle of the flowers with my torch off and my breath loud and counted to ten in my head. One, two, three. The honey-rot smell drifted past. Four, five. The pendant pulsed against my chest, once, twice, quicker now, out of rhythm with my own heart until I couldn't tell which beat was mine. Six, seven. The flowers turned. Not all at once. Not dramatically. Just the ones at the edge of my vision, the way a crowd turns to watch a procession. A soft, dry rustle, a hundred small heads swivelling on their stems toward the far side of the clearing, toward the gap between two stones where the branches hung lower and the gold-green light didn't reach. I looked. Nothing. Shadow and oak bark and a deeper dark between them. I looked away. The rustle came again, and this time, at the very corner of my eye where sight turns into instinct, something tall stood between the stones. Tall and thin and patient, the shape of a person the way a scarecrow is the shape of a person. I snapped my head round. Nothing. Bark. Shadow. The dark between the stones was just dark, and it was grinning at me for thinking I'd caught it. "Okay." My voice came out smaller than I'd planned. "Okay, Rory, think." Three rules for places that don't obey rules. I made them up right there, standing in a winter meadow that had never heard of winter. One: don't eat anything. Two: don't say thank you. Three: don't turn your back on the gap you came in through, because it won't stay where you left it. I turned, slow, to check the way I'd come. The gap between the oaks showed me flowers. More flowers, more clearing, another ring of stones fading into the gold-green light. Not the park. Not the path. Not the way out. The pendant went from warm to hot to scalding, and its pulse broke into a sprint, and beneath it I felt the ground answer. A tremor through the soil, up through my boot soles, into my teeth. The flowers shivered in their windless air. All of them now, every head in the clearing, turned toward me. Behind me, close enough that I felt it move the small hairs at the nape of my neck, something exhaled. Long. Slow. Curious. The honey-rot smell arrived with it, thick enough to lean on. "Hello, Malphora," the something said. Nobody calls me that. Nobody alive knows that name. The pendant burned through my coat before I reached the stones. Three nights it had been warming against my sternum, a coal under cotton. Three nights of me pressing my palm flat against it at the Golden Empress counter, telling myself it was a reaction to cheap silver. Then the note came under my door this evening. No signature. No fingerprints but mine on the paper. Just six words in ink so dark it looked wet: *Richmond. The old oaks. Alone.* So now I was climbing a perimeter fence in the dead hours, the way sane people do. Richmond Park after closing is its own country. The deer keep it. Everyone knows that. What nobody tells you is how it feels when four hundred acres go silent around you, when the distant growl of the A308 simply stops mid-breath, as though someone lifted the needle off the whole world. I walked. Gravel crunched, then grass swallowed my footsteps, then even the grass went quiet. My breath hung in front of me in little clouds. December air, sharp enough to taste, and yet the pendant against my chest stayed warm as a fresh mug of tea. The deer found me first. I caught the herd in my phone's torchlight, maybe thirty of them, standing in the black space between two oaks. Not grazing. Not moving. Every head turned the same direction, and every dark eye fixed on me as I passed. Ears pricked forward like they were listening to something on my side of the fence. Something I couldn't hear yet. "Evening," I said, because my mother raised me to be polite, even to wildlife. None of them blinked. I kept walking and felt their stares on my back the way you feel rain coming. The standing stones announced themselves by warmth. I swear that's true. The air around them carried a heat like a radiator left on in an empty room, and when I stepped between the first two oaks, the pendant flared so hot I hissed and pulled my coat open. Deep crimson. Thumbnail-sized. Glowing from the inside, a slow pulse like something sleeping. "Right," I said to the stones. "Message received." The gap between the oaks should have opened onto more park. Bracken, a fallen branch, the muddy track toward Pen Ponds. Instead there was light. Soft, sourceless, gold-green light spilling up out of the ground the way light spills up from a pool at night. And flowers. Wildflowers. In December. A whole clearing of them, ox-eye daisies and red campion and things I couldn't name, nodding in a breeze I couldn't feel on my face. I checked my phone. 03:33. I waited. Watched the screen. 03:33. The second hand on my watch had stopped. Not slowed, stopped, quivering in place like a fly that wanted to move and couldn't. *Time moves differently there.* I don't know where that thought came from. It arrived the way the note had, complete and uninvited, and it felt less like something I'd worked out and more like something someone had left inside my head for me to find. I stepped through anyway. Cool-headed, my friends call me. Stupid, my mother calls it. Inside, the grove was warm as a greenhouse and smelled of honey. Lovely, at first. Then, underneath the honey, something else. Something sweet that had turned. Flowers past their best, or meat past its. The smell sat at the back of my throat and waited. The clearing was maybe forty feet across, ringed by the oak stones, roofed by branches that shouldn't have met but did. No insects. That was the detail that made my scalp tighten. A December meadow full of bloom and not one gnat, one moth, one anything. Flowers without pollinators are a lie. Somebody had built this place to look alive and forgotten the small print. I made myself useful. I paced the perimeter, counting stones. Eleven. I paced it again. Twelve. The third time I got thirteen and stopped counting, because there are rules about places that can't hold a number, and I'd read enough of my father's old case files to know the feeling of a fact that wouldn't sit still. That's when the echoes started. My footsteps had been coming back to me wrong for a while. A half-beat late, like the grove was learning the sound and playing it back after me. I'd told myself it was the stones. Stone throws sound, that's all. Perfectly ordinary. But ordinary echoes stop when you stop. I stopped. The footsteps took two more strides and halted a heartbeat after mine. I stood in the middle of the flowers with my torch off and my breath loud and counted to ten in my head. One, two, three. The honey-rot smell drifted past. Four, five. The pendant pulsed against my chest, once, twice, quicker now, out of rhythm with my own heart until I couldn't tell which beat was mine. Six, seven. The flowers turned. Not all at once. Not dramatically. Just the ones at the edge of my vision, the way a crowd turns to watch a procession. A soft, dry rustle, a hundred small heads swivelling on their stems toward the far side of the clearing, toward the gap between two stones where the branches hung lower and the gold-green light didn't reach. I looked. Nothing. Shadow and oak bark and a deeper dark between them. I looked away. The rustle came again, and this time, at the very corner of my eye where sight turns into instinct, something tall stood between the stones. Tall and thin and patient, the shape of a person the way a scarecrow is the shape of a person. I snapped my head round. Nothing. Bark. Shadow. The dark between the stones was just dark, and it was grinning at me for thinking I'd caught it. "Okay." My voice came out smaller than I'd planned. "Okay, Rory, think." Three rules for places that don't obey rules. I made them up right there, standing in a winter meadow that had never heard of winter. One: don't eat anything. Two: don't say thank you. Three: don't turn your back on the gap you came in through, because it won't stay where you left it. I turned, slow, to check the way I'd come. The gap between the oaks showed me flowers. More flowers, more clearing, another ring of stones fading into the gold-green light. Not the park. Not the path. Not the way out. The pendant went from warm to hot to scalding, and its pulse broke into a sprint, and beneath it I felt the ground answer. A tremor through the soil, up through my boot soles, into my teeth. The flowers shivered in their windless air. All of them now, every head in the clearing, turned toward me. Behind me, close enough that I felt it move the small hairs at the nape of my neck, something exhaled. Long. Slow. Curious. The honey-rot smell arrived with it, thick enough to lean on. "Hello, Malphora," the something said. Nobody calls me that. Nobody alive knows that name.
created_at"2026-09-23T17:53:12.4Z" 9/23/2026, 5:53:12 PM
model"aion-labs/aion-3.5-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency498
moderation_latency(null)
generation_time73719
tokens_prompt4387
tokens_completion4507
native_tokens_prompt4126
native_tokens_completion4102
native_tokens_completion_images(null)
native_tokens_reasoning1158
native_tokens_cached4126
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)
usage0.0277065
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.20.0; linux; x64))"
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request_id"req-1790185992-dmlyDR2ddQCdvutf3fnJ"
session_id(null)
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api_type"completions"
id"gen-1790185992-ixj4wsLStOMMKFk68kVm"
upstream_id"7449041c028540109e39c99d7c6ec2a8"
provider_responses
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endpoint_id"09b1fc56-3888-42bd-b7a0-926851c7f9d6"
id"7449041c028540109e39c99d7c6ec2a8"
is_byokfalse
latency495
model_permaslug"aion-labs/aion-3.5-20260923"
provider_name"AionLabs"
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total_cost0.0277065
cache_discount0.0092835
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provider_name"AionLabs"
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data_region"global"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences12
tagDensity0.667
leniency1
rawRatio0
effectiveRatio0
89.47% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2375
totalAiIsmAdverbs5
found
0
adverb"gently"
count1
1
adverb"perfectly"
count2
2
adverb"very"
count2
highlights
0"gently"
1"perfectly"
2"very"
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)
62.11% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2375
totalAiIsms18
found
0
word"footsteps"
count6
1
word"warmth"
count2
2
word"pulse"
count4
3
word"echoes"
count4
4
word"pulsed"
count2
highlights
0"footsteps"
1"warmth"
2"pulse"
3"echoes"
4"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
narrationSentences256
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount4
hedgeCount0
narrationSentences256
filterMatches
0"feel"
1"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences260
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords18
totalWords2375
ratio0.008
matches
0"Richmond. The old oaks. Alone."
1"Time moves differently there."
2"Richmond. The old oaks. Alone."
3"Time moves differently there."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount2355
uniqueNames10
maxNameDensity0.34
worstName"Three"
maxWindowNameDensity1.5
worstWindowName"Three"
discoveredNames
Golden2
Empress2
Park2
Pen2
Ponds2
December6
Three8
Flowers4
One4
Shadow4
persons
0"Three"
1"Flowers"
2"One"
places
0"Golden"
1"Park"
2"Pen"
3"December"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences130
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.842
wordCount2375
matches
0"No fingerprints but"
1"No fingerprints but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences260
matches
0"knows that name"
1"knows that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs78
mean30.45
std20.86
cv0.685
sampleLengths
011
170
217
351
446
55
660
714
820
948
1013
118
1247
1329
1411
1523
1645
1714
1845
1965
2057
215
2242
237
2414
2560
263
2760
2813
2948
3027
3112
3254
339
3431
3556
3634
375
389
3911
4070
4117
4251
4346
445
4560
4614
4720
4848
4913
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences256
matches(empty)
66.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount8
totalVerbs398
matches
0"was climbing"
1"were listening"
2"was learning"
3"was grinning"
4"was climbing"
5"were listening"
6"was learning"
7"was grinning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences260
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2375
adjectiveStacks2
stackExamples
0"sourceless, gold-green light"
1"sourceless, gold-green light"
adverbCount67
adverbRatio0.028210526315789474
lyAdverbCount13
lyAdverbRatio0.0054736842105263155
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences260
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences260
mean9.13
std8.54
cv0.935
sampleLengths
011
113
224
39
42
57
611
73
81
917
108
114
123
1336
142
1513
1610
1721
185
1920
202
212
2216
2315
245
2514
264
2716
287
294
3037
312
321
3310
346
352
3611
3710
384
3920
402
411
422
4326
444
451
462
473
481
498
41.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.25
totalSentences256
uniqueOpeners64
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount12
totalSentences198
matches
0"Then the note came under"
1"Just six words in ink"
2"Instead there was light."
3"Soft, sourceless, gold-green light spilling"
4"Then, underneath the honey, something"
5"Just the ones at the"
6"Then the note came under"
7"Just six words in ink"
8"Instead there was light."
9"Soft, sourceless, gold-green light spilling"
10"Then, underneath the honey, something"
11"Just the ones at the"
ratio0.061
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences198
matches
0"My breath hung in front"
1"I caught the herd in"
2"I said, because my mother"
3"I kept walking and felt"
4"I swear that's true."
5"I said to the stones"
6"I checked my phone."
7"It arrived the way the"
8"I stepped through anyway."
9"I made myself useful."
10"I paced the perimeter, counting"
11"I paced it again."
12"My footsteps had been coming"
13"I'd told myself it was"
14"I stood in the middle"
15"I looked away."
16"I snapped my head round."
17"My voice came out smaller"
18"I made them up right"
19"I turned, slow, to check"
ratio0.202
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount130
totalSentences198
matches
0"The pendant burned through my"
1"The old oaks."
2"Richmond Park after closing is"
3"The deer keep it."
4"Everyone knows that."
5"Gravel crunched, then grass swallowed"
6"My breath hung in front"
7"December air, sharp enough to"
8"The deer found me first."
9"I caught the herd in"
10"Every head turned the same"
11"Ears pricked forward like they"
12"Something I couldn't hear yet."
13"I said, because my mother"
14"None of them blinked."
15"I kept walking and felt"
16"The standing stones announced themselves"
17"I swear that's true."
18"The air around them carried"
19"I said to the stones"
ratio0.657
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences198
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences94
technicalSentenceCount4
matches
0"What nobody tells you is how it feels when four hundred acres go silent around you, when the distant growl of the A308 simply stops mid-breath, as though someon…"
1"The third time I got thirteen and stopped counting, because there are rules about places that can't hold a number, and I'd read enough of my father's old case f…"
2"What nobody tells you is how it feels when four hundred acres go silent around you, when the distant growl of the A308 simply stops mid-breath, as though someon…"
3"The third time I got thirteen and stopped counting, because there are rules about places that can't hold a number, and I'd read enough of my father's old case f…"
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
totalTags6
fancyCount0
fancyTags(empty)
dialogueSentences12
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
91.5661%