The Standings → Hy3
Tencent
via B.AI API · judged by Claude Sonnet 5
Results from run ‘first’: ten items, ten verdicts.
Hy3 scores 56 on craft, 7 points below the field’s 63 and 37 points short of the authors themselves. Its shape differs from the field’s: relatively strong on building scenes and period detail, relatively weak on restraint and sentence-level prose. On the mechanical checks it kept to the brief’s word range on 5 of 10 items and leans on stock phrases more than most.
The record: 10 items · 10 verdicts · 0 errors · 1,662 words on average · est. generation cost $0.06
Eight dimensions, each 0–100, averaged over ten items; the author’s real chapter was in the room every time.
Craft by dimension, 0–100 · judged by Sonnet 5 beside the author’s real chapter
The authors themselves average 93 on the five writing dimensions, the field 63, this model 56. Hover or focus a bar for the field and the authors on that dimension.
The judge’s one-sentence best quality and worst flaw for each chapter, written for a general reader.
Best Dorcas's blunt, indignant contradiction of Inglethorp's alibi about the shut-up inn is a well-observed, convincingly servant-class moment.
Worst Several passages tell the reader how to feel with generic phrases like "a cold fear clutched at my heart," and the room-search reads as a list of actions rather than a dramatized scene.
Best The short, plain-spoken exchange where Lady Verinder forbids her brother's name is clear and gets the emotional point across efficiently.
Worst It completely drops the three Indians and the fortune-telling boy that the previous chapter built up around Franklin's arrival, so the chapter feels disconnected from the story's central mystery.
Best It hits every required plot point cleanly and gives the moor stop a real, if brief, atmosphere of cold open space.
Worst The narration keeps stepping in to explain what Mary is feeling and not admitting, which tells the reader her emotions instead of letting her actions show them.
Best It hits every required plot point clearly and in a sensible, easy-to-follow order.
Worst The writing tends to tell the reader what happened and how people felt rather than letting the scene play out, so it reads more like a report of the meeting than the meeting itself.
Best It hits every required plot point cleanly and ties back nicely to earlier imagery, especially echoing the Kentucky meadow when Edna swims.
Worst It often just states what a character feels or intends (like telling us outright that Edna 'told no one' or felt 'a small, undefined relief') instead of letting the reader work it out from behavior, which makes it feel flatter and more explained than the original book.
Best Eugene Foster's opening letter is a genuinely convincing piece of period ventriloquism, a solicitous expatriate agent's voice that makes the delay feel textured and real.
Worst The final telegram has Jonathan already safe in Southampton by 30 May, which is impossible given that the story we've been told has him still trapped in the castle for weeks afterward, so the ending breaks the timeline rather than twisting it.
Best The gag of Lord Emsworth mistaking Eve for the chambermaid sent to fetch his pince-nez is a fun, in-character misunderstanding.
Worst A stray foreign character breaks into the middle of a sentence, and the umbrella's location stops making sense once Eve has already returned it but Walderwick still calls it "missing."
Best It hits every required beat cleanly, with a nice human touch when the wife bandages the burned carter's hand with butter.
Worst The argument between the narrator and Ogilvy reads like a textbook debate rather than real talk, and the last line spells out the coming danger instead of letting it stay unspoken.
Best The chapter carefully lays out the check-writing timeline in one clean paragraph, making the mystery of the missing $5,000 easy to follow.
Worst The narrator explicitly says he isn't using his fake 'Henry F. Neill' identity at the bank and then immediately introduces himself as 'Neill' anyway, a flat self-contradiction, and the prose leans on overwrought similes ('like a snake's shed skin,' 'the city buzzed and hated') that don't sound like Hammett.
Best The return trip to the bal musette is well-observed and true to the world already established — the patronne, the accordion, Georgette resting her feet with a mark on her arm from being pinched, all feel like they belong in this book.
Worst At the key emotional moment Jake says out loud to Brett, 'I was in love with Brett and it made me feel hollow,' which is backwards — he's talking to her but refers to her by name like he's describing her to someone else, and it states outright the very feeling the whole book keeps hidden.
Headline, compliance and craft for each chapter, 0–100.
| Item | Headline | Compliance | Craft | Words |
|---|---|---|---|---|
| The Mysterious Affair at Styles item 017 · after ch. 3 · Agatha Christie | 66.3 | 95 | 70 | 1,334 |
| The Moonstone item 011 · after ch. 8 · Wilkie Collins | 61.3 | 95 | 64 | 1,848 |
| The Secret Garden item 013 · after ch. 2 · Frances Hodgson Burnett | 60.5 | 100 | 60 | 1,671 |
| Persuasion item 001 · after ch. 1 · Jane Austen | 56.6 | 100 | 57 | 2,065 |
| The Awakening item 016 · after ch. 7 · Kate Chopin | 55.8 | 100 | 56 | 1,419 |
| Dracula item 015 · after ch. 5 · Bram Stoker | 50.1 | 80 | 63 | 2,102 |
| Leave It to Psmith item 022 · after ch. 3 · P. G. Wodehouse | 48.9 | 95 | 52 | 1,395 |
| The War of the Worlds item 006 · after ch. 1 · H. G. Wells | 48.1 | 95 | 51 | 1,640 |
| Red Harvest item 023 · after ch. 2 · Dashiell Hammett | 44.9 | 95 | 47 | 1,875 |
| The Sun Also Rises item 021 · after ch. 3 · Ernest Hemingway | 39.8 | 95 | 42 | 1,272 |
Words written per item, against each brief’s maximum.
Word count per item vs. brief maximum · run ‘first’
Five of ten items landed inside their brief’s word range.
Each verdict names the chapter’s single worst flaw, with evidence. Quoted verbatim from run ‘first’.
The narrator explicitly says he isn't using his fake 'Henry F. Neill' identity at the bank and then immediately introduces himself as 'Neill' anyway, a flat self-contradiction, and the prose leans on overwrought similes ('like a snake's shed skin,' 'the city buzzed and hated') that don't sound like Hammett.
At the key emotional moment Jake says out loud to Brett, 'I was in love with Brett and it made me feel hollow,' which is backwards — he's talking to her but refers to her by name like he's describing her to someone else, and it states outright the very feeling the whole book keeps hidden.
It often just states what a character feels or intends (like telling us outright that Edna 'told no one' or felt 'a small, undefined relief') instead of letting the reader work it out from behavior, which makes it feel flatter and more explained than the original book.
The final telegram has Jonathan already safe in Southampton by 30 May, which is impossible given that the story we've been told has him still trapped in the castle for weeks afterward, so the ending breaks the timeline rather than twisting it.
Automated screening results across the ten outputs.