Run: 2026-10-13-01M4TBDM8GT8VW48SBB4NDNJE9

Run Details

Duration:
55.8s
Cost:
$0.100836
Provider:
Meta

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
Rory stopped mid-step with one boot sunk in black mud and the Heartstone burning against her skin. Heat pulsed through the thin silver chain. The small deep crimson stone struck her chest in a hard tick-tock rhythm, each beat stronger than the last, each beat dragging her gaze toward the trees ahead. She lifted the pendant away from her jumper with two fingers. Faint light throbbed inside the gem and lit the crescent-shaped scar on her left wrist. That had not happened at the flat. It had not happened outside Richmond Park. It had not happened until she crossed between the ancient oak standing stones and felt the ground give under her boot like a held breath released. Rory pulled her boot free. Mud sucked at the heel and let go with a wet smack. Behind her, the path through the trees had vanished. Ferns crowded the space where she had entered. Pale wildflowers nodded among them, open and full, and their sweet scent coated the back of her throat until sweetness turned cloying. She checked the trees again. The stones still stood at her back, grey and pitted, taller than the oaks around them in a way her eyes accepted and her stomach rejected. One stone leaned left. Another leaned right. Both cast shadows toward her, though her phone torch threw light in the opposite direction and no other light touched the clearing. The package had arrived at the Golden Empress during the lunch rush. Yu-Fei had found it beside the till, a plain brown box with Rory scrawled across the lid in green ink. Inside, the pendant had rested on folded black cloth. Under the cloth, a card had carried four lines. Bring the stone to Isolde's grove. Come alone. Do not follow a voice you recognise. She knows the name Malphora. Rory had laughed in the kitchen while steam fogged the windows and pans clattered around her. She had shown the card to no one. She had slipped the chain around her neck, pocketed the card, and finished her shift with the pendant growing warm each time she passed the restaurant door. Now the stone burned. "Isolde?" Her voice flattened at the edge of the clearing. No echo returned it. The flowers along the tree line shivered, one patch after another, a ripple moving anti-clockwise around the Grove. Rory tracked the motion and counted under her breath. Nothing crossed the open ground. No animal broke cover. Still the ripple completed its circuit and stopped at the stone behind her right shoulder. She turned. A shoe print marked the mud beside her boot. Narrow. Soled with a shallow diamond pattern. It matched the print her own boot had left at the stones, down to the nick cut into the outer edge. Rory crouched and touched the print. Cold mud numbed her fingertip. Fresh mud. Wet mud. The print pointed into the Grove, toward a cluster of white flowers she had not yet passed. Her phone buzzed in her coat pocket. She pulled it free and stared at the delivery app. The route timer for her last drop, a completed run to Kew from two afternoons past, had opened itself on screen. It counted upward in red numbers. Forty-seven hours. Forty-eight. The seconds spun too fast to read and the battery icon drained from green to amber while she watched. She locked the screen. The buzzing continued through her palm, a faint insect tremor that synced with the pendant for three beats and then slipped half a beat behind. Ahead, something clicked. Rory raised the torch. Light slid across grass, flower heads, fallen branches, the bright white bark of a birch that stood alone near the centre of the clearing. The trunk bore marks at shoulder height. Five shallow grooves. They ran downward, parallel, ending in curled strips of bark that still clung to the tree. Click. Click. The sound came from beyond the birch. She moved toward it because the pendant pulled hot and insistent against her ribs, and because retreat had already failed in a smaller test she had set herself four minutes after entering. She had walked straight back through the stones, counted sixty paces, and arrived at this same birch from the other side. The Grove had folded the path without sound or spectacle. It had simply refused to let her leave. At the birch, the clicking stopped. Rory lowered the torch beam. A small metal delivery bell sat at the base of the trunk, the kind Yu-Fei kept beside the restaurant till for customers who enjoyed testing staff patience. A thumbprint smeared its dome. Beside it lay a folded paper takeaway menu from the Golden Empress, damp at the corners, open to the page Rory had packed a hundred times without reading. Her address sat handwritten across the menu in green ink. Not the flat above Silas' bar. Not Cardiff. An address she had never written on an order, in a hand that sloped like her mother's writing on school lunch notes twenty years gone. The bell rang. No hand touched it. The dome jumped once against the birch root and produced a clean, bright note that rolled across the clearing and struck the standing stones. Each stone answered with a lower note. The wildflowers shut. Every pale petal folded inward at once, and darkness thickened between the trees until her torch cut a narrow, trembling tunnel through it. Rory stepped back. Her heel caught a root. She caught the birch trunk and felt the five grooves fit her fingers with obscene precision. From the trees to her left, her phone rang. The sound rang clear and familiar, the rising chime she used for Eva. Her phone sat silent in her hand. Its screen stayed black. The ringing continued from the darkness beyond the stones, cheerful and wrong, each note slightly stretched at the end. It cut off midway through a chime. "Rory?" Eva's voice drifted from the same direction. It carried the laugh Eva tucked into her Rs whenever fear made her speak too fast, the exact catch Rory had heard on stairwells and night buses and once outside a police station in Cardiff when neither of them had known which adult to call. Rory pressed her wrist against the pendant. Pain steadied the air in her lungs. "You read the card, then" The voice smiled without mouth or face. It dropped Eva's laugh. It kept Eva's warmth. "Answer and I come over" "Isolde first" "No one here holds that name now" "Then who sent the box?" "You did" The pendant flared. Heat bit through wool and skin. Rory tore the chain upward, but the clasp held at the back of her neck and the stone swung against her throat like a small red eye. Around the clearing, the shut flowers began to open again. Each bloom held a dark centre. Each dark centre reflected her torch as a pinpoint of white, and each pinpoint tracked her as she turned in a slow circle. Movement flickered at the edge of her sight. She snapped the torch toward it. Empty grass. Wet leaves. A standing stone with lichen coating its base in dull orange patches. She held the beam there and watched the lichen resolve into fingerprints. Dozens of them. Hundreds. Small and large prints overlapped across the stone from ground to waist height, all pressed into the surface from the inside. One new print bloomed beside the others as she watched. The fingers spread. The palm flattened. Stone bulged outward around the shape, fine grit pattering onto the grass. Rory ran for the birch. She chose the tree because it stood at the centre and centres gave her angles. Law lectures had taught her little worth keeping, but pre-law at Cardiff had sharpened one instinct into habit. Find the fixed point. Measure everything else against it. The birch gave her the stones at her back, the flower ring ahead, and clear ground on both sides. Her scooter keys dug into her thigh through her pocket. Keys meant the car park. The car park meant the gate, the road, lamps, people ordering taxis and arguing over dropped chips. Ordinary things with hard edges. She gripped the keys until their teeth pricked her palm and used the small pain to count her breaths. One. The bell lay silent at the root. Two. The menu had vanished. Three. Something breathed behind the nearest stone, a soft nasal pull that lifted the hairs along her forearms. Four. Her own footsteps approached from the far side of the clearing. They came unhurried. Boot on grass. Boot on mud. The shallow squeak her left sole made since she had stepped on a bottle cap outside Silas' bar three weeks earlier sang out at every fifth step. Rory knew that squeak. She heard it each morning on the flat stairs. She heard it now from a throat of darkness between two oaks, drawing closer, patient as a debt collector. "Stop" The footsteps stopped. "Show yourself" "You first" Her own voice answered. It held her Cardiff lilt flattened by London, her habit of clipping the end of a sentence when anger overtook manners, even the small click her tongue made against her teeth before a lie. It lacked only breath. The words arrived complete and dry, as if speech required no lungs behind it. The pendant stopped pulsing. Cold replaced heat so fast that Rory gasped. The stone against her throat turned dull. Beyond the birch, the footsteps resumed, and this time two sets sounded together. One pair squeaked. The other dragged. Between steps, a chain chimed against stone in a soft flip-flop pattern, metal and rock, metal and rock, keeping time with neither walker. Her phone lit up in her hand without her thumb near the screen. A photograph filled the display. It showed this clearing from above, the birch at its centre, Rory standing beside it with the torch aimed at the stones. The image zoomed as she stared, pixel crawling toward the figure beside the birch. The figure in the photograph raised its head. In the photograph, Rory had no eyes. Dark flower centres filled the sockets. The mouth stretched down past the chin in a wet black oval, and one hand lifted toward the camera with fingers already pressing outward against the screen. Rory dropped the phone. Glass cracked on a root. The ringing began again, muffled in the grass, Eva's chime warped into a low toll that shook grit from the birch bark. White strips curled down around her shoulders. The grooves in the trunk deepened. Sap welled inside them, dark and copper-sweet, and the smell pushed into her nose until she tasted blood on the back of her tongue. "You left Evan" The voice spoke from the birch itself now. Evan's voice. Softer than memory allowed. Reasonable. Hurt. The voice he had used through locked doors, through the crack in a bathroom window, through the letterbox in Cardiff while neighbours pretended deafness and Rory sat on the hall floor with her back against a chair wedged under the handle. "You left without a word, Laila" No living person called her Laila. She had buried that name with childhood games in her grandmother's garden, before the accident that cut her wrist on a broken greenhouse pane, before Cardiff turned sour and London offered its thin escape. The card in her pocket had named Malphora. It had said nothing about Laila. The scar on her left wrist itched. Rory looked down. A second crescent had appeared beside the first. Thin. Pink. Fresh. It curved the wrong way, a mirror of the old mark, and as she stared, a third crescent opened below it without pain, skin parting in silence to reveal a line of black beneath. She clamped her right hand over her wrist. Warmth seeped between her fingers, but her palm came away clean. No blood. Only the smell of crushed flowers. Across the clearing, the standing stones shifted. Stone ground against stone. The sound travelled through the soles of her boots and up her shins. The gap between the two tallest stones widened by a hand's breadth, then another, and the darkness inside the gap showed depth where only trees should stand. Red light breathed far down in that depth. The pendant answered before she understood. It tore heat back into her skin, bright and frantic, and the deep crimson gem split the darkness ahead of her with a thin red glow. The footsteps entered her torch beam. Bare feet came first. Human feet caked in black mud, toes splayed for grip. Legs followed, clad in Rory's jeans, torn at the left knee where she had caught them on the restaurant's delivery rack that morning. Then came her coat, her black shoulder-length hair, her face lifted into the light with bright blue eyes fixed on her own. The woman stopped six paces away. She wore an identical pendant on a silver chain. Her stone hung dull and empty. A small crescent scar marked her right wrist. She smiled with Rory's mouth and spoke with Jennifer Carter's voice, warm from a Cardiff kitchen that no longer existed. "You kept my seat warm, love" The ground beneath the birch split open and a hand shot up through the roots and seized Rory's ankle.
created_at"2026-10-13T10:02:38.756Z" 10/13/2026, 10:02:38 AM
model"meta/muse-wonder-20261012"
app_id182717
external_user(null)
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cancelledfalse
latency3439
moderation_latency(null)
generation_time55773
tokens_prompt4387
tokens_completion3307
native_tokens_prompt4099
native_tokens_completion4222
native_tokens_completion_images0
native_tokens_reasoning1388
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
service_tier"auto"
usage0.100836
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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api_type"completions"
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provider_responses
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endpoint_id"1232618d-ebfe-4338-9b68-d9127a57c8dd"
id"resp_6ace01c02fd0fd9418d94195"
is_byokfalse
latency1885
model_permaslug"meta/muse-wonder-20261012"
provider_name"Meta"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences14
tagDensity0.071
leniency0.143
rawRatio0
effectiveRatio0
97.75% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2226
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
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)
66.31% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2226
totalAiIsms15
found
0
word"pulsed"
count1
1
word"throbbed"
count1
2
word"stomach"
count1
3
word"echo"
count1
4
word"familiar"
count1
5
word"warmth"
count2
6
word"flickered"
count1
7
word"resolve"
count1
8
word"footsteps"
count4
9
word"lilt"
count1
10
word"silence"
count1
highlights
0"pulsed"
1"throbbed"
2"stomach"
3"echo"
4"familiar"
5"warmth"
6"flickered"
7"resolve"
8"footsteps"
9"lilt"
10"silence"
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
narrationSentences210
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences210
filterMatches(empty)
hedgeMatches
0"began 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
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2226
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions64
wordCount2165
uniqueNames19
maxNameDensity1.11
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Eva"
discoveredNames
Heartstone1
Richmond1
Park1
Golden2
Empress2
Rory24
Isolde1
Malphora2
Grove3
Kew1
Yu-Fei2
Cardiff7
Eva6
Rs1
London2
Laila2
Jennifer1
Carter1
One4
persons
0"Heartstone"
1"Empress"
2"Rory"
3"Yu-Fei"
4"Eva"
5"Laila"
6"Jennifer"
7"Carter"
places
0"Richmond"
1"Park"
2"Golden"
3"Isolde"
4"Kew"
5"Cardiff"
6"London"
globalScore0.946
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences134
glossingSentenceCount1
matches
0"appeared beside the first"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2226
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences224
matches
0"knew that squeak"
1"buried that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs78
mean28.54
std25.11
cv0.88
sampleLengths
017
161
240
356
460
550
620
751
84
91
1064
112
1237
1332
147
1559
1629
173
1854
192
2078
216
2265
2343
243
2561
2624
279
2843
297
301
3152
3214
335
3415
355
362
377
385
392
4075
418
4259
4328
445
4561
4656
478
485
4918
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences210
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs340
matches(empty)
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
wordCount841
adjectiveStacks0
stackExamples(empty)
adverbCount15
adverbRatio0.0178359096313912
lyAdverbCount1
lyAdverbRatio0.0011890606420927466
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
mean9.94
std8.61
cv0.867
sampleLengths
017
17
228
311
415
57
67
726
85
912
109
118
1222
135
1426
154
163
1722
1812
1920
209
219
226
232
247
255
2616
278
2827
294
301
319
324
3318
349
355
364
3715
382
399
401
416
4221
436
445
452
462
4717
487
4910
59.82% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.4017857142857143
totalSentences224
uniqueOpeners90
35.84% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences186
matches
0"Only the smell of crushed"
1"Then came her coat, her"
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences186
matches
0"She lifted the pendant away"
1"It had not happened outside"
2"It had not happened until"
3"She checked the trees again."
4"She knows the name Malphora."
5"She had shown the card"
6"She had slipped the chain"
7"Her voice flattened at the"
8"It matched the print her"
9"Her phone buzzed in her"
10"She pulled it free and"
11"It counted upward in red"
12"She locked the screen."
13"They ran downward, parallel, ending"
14"She moved toward it because"
15"She had walked straight back"
16"It had simply refused to"
17"Her address sat handwritten across"
18"Her heel caught a root."
19"She caught the birch trunk"
ratio0.258
72.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount144
totalSentences186
matches
0"Rory stopped mid-step with one"
1"Heat pulsed through the thin"
2"The small deep crimson stone"
3"She lifted the pendant away"
4"That had not happened at"
5"It had not happened outside"
6"It had not happened until"
7"Rory pulled her boot free."
8"Mud sucked at the heel"
9"Ferns crowded the space where"
10"She checked the trees again."
11"The stones still stood at"
12"Another leaned right."
13"Both cast shadows toward her,"
14"The package had arrived at"
15"Yu-Fei had found it beside"
16"She knows the name Malphora."
17"Rory had laughed in the"
18"She had shown the card"
19"She had slipped the chain"
ratio0.774
26.88% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences186
matches
0"Now the stone burned."
ratio0.005
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences75
technicalSentenceCount3
matches
0"A small metal delivery bell sat at the base of the trunk, the kind Yu-Fei kept beside the restaurant till for customers who enjoyed testing staff patience."
1"The dome jumped once against the birch root and produced a clean, bright note that rolled across the clearing and struck the standing stones."
2"She had buried that name with childhood games in her grandmother's garden, before the accident that cut her wrist on a broken greenhouse pane, before Cardiff tu…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
91.4281%