id stringlengths 20 42 | kind stringlengths 14 32 | notes stringlengths 90 260 | messages listlengths 1 1 | rubric listlengths 5 9 |
|---|---|---|---|---|
spatial-lighthouse-ascent | spatial-consistency | Fixed floor plan given in the prompt. Tests whether the model keeps walls, directions, stair handedness, and floor order consistent while the character moves and turns. | [
{
"role": "user",
"content": "Write a tense third-person-limited scene in past tense. Ines, a harbor inspector, climbs a decommissioned lighthouse during a storm to find a missing radio.\n\nFixed layout (do not change it):\n- Ground floor: the only exterior door is on the EAST wall. A cast-iron spiral stair... | [
{
"question": "Is the text written in past tense third-person limited about Ines?",
"pass_criteria": "yes"
},
{
"question": "Does Ines visit floor 1, then floor 2, then floor 3 in that exact order, with each transition shown on the staircase and no skipped or reversed floors before the final descent... |
spatial-round-table-seating | spatial-consistency | Round-table seating with clockwise order. Tests relational reasoning: left/right neighbours, across, passing direction, and who can physically reach what. | [
{
"role": "user",
"content": "Write a dialogue-heavy scene, in third-person present tense, set at a round table in a Jakarta warung during a family dispute over inheritance.\n\nSeating, clockwise from the doorway side: Bu Ratna (matriarch) -> Dimas (eldest son) -> Laras (daughter) -> Pak Hendro (uncle). Bu ... | [
{
"question": "Is the scene in third-person present tense, with exactly four people seated at the table?",
"pass_criteria": "yes"
},
{
"question": "Are there at least six distinct physical handoffs, each with a clear giver and receiver?",
"pass_criteria": "yes"
},
{
"question": "For ever... |
perspective-second-person-present | perspective-consistency | Second person, present tense, strict sensory-only access. Tests tense drift and head-hopping, which are common failure modes. | [
{
"role": "user",
"content": "Write a quiet, unsettling scene in SECOND PERSON, PRESENT TENSE. The reader ('you') wakes at 2 a.m. in a rented apartment to the sound of someone moving in the kitchen, while your flatmate is supposed to be away.\n\nRules:\n- Every narrated action uses 'you' with present tense.... | [
{
"question": "Is the piece primarily addressed to 'you'?",
"pass_criteria": "yes"
},
{
"question": "Is every narrated action in present tense, with no sentences of narration slipping into past tense (outside of explicitly marked memories and quoted dialogue)?",
"pass_criteria": "yes"
},
{
... |
perspective-limited-first-person-nanny | perspective-consistency | First-person past narrator who has partial information. Tests the knowledge boundary between observation and mind-reading, and whether narrator-time hindsight is handled consistently. | [
{
"role": "user",
"content": "Write a scene in FIRST PERSON, PAST TENSE, narrated by Wulan, a live-in nanny, about a single tense dinner with the Hartono family (father Bram, mother Selina, their ten-year-old Kiko).\n\nRules:\n- Wulan only reports what she sees, hears, smells or physically does. She never s... | [
{
"question": "Is the piece in first person past tense, narrated by Wulan?",
"pass_criteria": "yes"
},
{
"question": "Are all statements about Bram's, Selina's and Kiko's thoughts or feelings marked as inference or backed by observable evidence, never stated as plain fact?",
"pass_criteria": "ye... |
slip-esl-learner-email | controlled-error-style | Writing with deliberate, systematic learner errors. Tests whether the model produces specific error classes consistently without drifting into either perfect English or random garbled text. | [
{
"role": "user",
"content": "Write an email from Rina, an Indonesian office worker at roughly B1 English level, to her new manager in Melbourne, explaining that she will be late starting because of a visa delay. Output only the email (subject line + body).\n\nRules: Rina must show EXACTLY these three recur... | [
{
"question": "Is the output only an email (subject line plus body), with no commentary, brackets, or corrections?",
"pass_criteria": "yes"
},
{
"question": "Are there at least six instances of missing articles where standard English would require one?",
"pass_criteria": "yes"
},
{
"ques... |
slip-malaprop-grandfather | controlled-error-style | Vocabulary slips with a specified target list. Tests accurate misuse of exactly the listed words, plausible sound-alike substitutions, and absence of accidental correct use or extra malapropisms. | [
{
"role": "user",
"content": "Write a warm, funny scene, mostly dialogue, in which Opa Gerrit (78) explains to his teenage granddaughter Mila how to prepare for a job interview.\n\nOpa Gerrit mixes up exactly these six words, always replacing the INTENDED word with the WRONG one (the listener never uses the... | [
{
"question": "Is the scene mostly dialogue, in third-person past tense narration?",
"pass_criteria": "yes"
},
{
"question": "Does Opa Gerrit say each of the six wrong words ('perquisite', 'astronomical', 'complication', 'curriculum vitamin', 'navigate', 'particulate') at least once?",
"pass_cri... |
tom-false-belief-bakery-key | theory-of-mind | First-order false belief with a hidden object move across three characters. Tests whether each character acts only on what they actually saw, did or were told. | [
{
"role": "user",
"content": "Write a quiet, grounded scene in third-person past tense about a small family bakery. The narrator may move between heads, but must make clear whose belief is being shown, and no character may act on information they never had.\n\nFixed facts:\n- Marguerite (61, widowed, brisk,... | [
{
"question": "Does the scene stay in third-person past tense and make clear whose belief or perception is being shown whenever the narration enters a character's head?",
"pass_criteria": "yes"
},
{
"question": "Does Pip tell Lukas the key is in the flour bin, acting on what he saw on Tuesday, with ... |
tom-second-order-surprise-party | theory-of-mind | Second-order belief: Dana knows, and knows that Kenji believes she doesn't. Tests whether the narration tracks nested beliefs without leaking knowledge to the wrong character. | [
{
"role": "user",
"content": "Write a scene in third-person limited past tense, close on Dana only, set in a mid-sized office on the afternoon of her 40th birthday.\n\nFixed facts:\n- Dana (40, office manager, sharp-eyed, dry) already knows there is a surprise party planned for 5 p.m. in the meeting room. S... | [
{
"question": "Does the narration stay close on Dana in third-person past tense, with no entry into Kenji's or Lucia's thoughts?",
"pass_criteria": "yes"
},
{
"question": "Does Kenji make at least three distinct, clumsy attempts to keep Dana away from the meeting room?",
"pass_criteria": "yes"
... |
whois-kitchen-brigade | character-tracking | Six characters with fixed attributes and two near-identical names (Callum/Colin). Tests who-is-who tracking, unambiguous pronouns, and attribute consistency under pressure. | [
{
"role": "user",
"content": "Write a scene of a chaotic Friday dinner service in a restaurant kitchen, in third-person past tense, with six named characters who must always be clearly identifiable.\n\nCast and fixed attributes:\n- Odile Brandt: head chef, 52, left-handed, black bandana, speaks in clipped i... | [
{
"question": "Are all six characters present, with names and roles used consistently and no character renamed, swapped or merged?",
"pass_criteria": "yes"
},
{
"question": "Is Callum clearly the one who made the mistake and Colin clearly the one who caught it, with the two never confused?",
"pa... |
format-asterisk-inner-voice | formatting-discipline | Strict markup convention: double quotes for speech, asterisks only for first-person present inner monologue, third-person past narration. Tests bleed between channels and a distinctive inner voice that contrasts with spoken voice. | [
{
"role": "user",
"content": "Write a scene of a night shift in an emergency department, following these formatting rules exactly.\n\nFormatting:\n- Spoken dialogue appears only inside \"double quotation marks\".\n- The POV character's inner monologue appears only inside *single asterisks*, always in first ... | [
{
"question": "Is all spoken dialogue inside double quotation marks, and is nothing else (such as a thought) inside double quotation marks?",
"pass_criteria": "yes"
},
{
"question": "Is all inner monologue inside single asterisks, with at least six separate passages?",
"pass_criteria": "yes"
}... |
format-backtick-oncall | formatting-discipline | Backticks reserved exclusively for inner thoughts, a convention that collides with the technical setting where backticks would normally mean code. Tests whether the model resists the collision. | [
{
"role": "user",
"content": "Write a scene set during a 3 a.m. production outage, following these formatting rules exactly.\n\nFormatting:\n- Spoken dialogue appears only inside \"double quotation marks\".\n- The POV character's inner thoughts appear only inside `backticks`, always in first person, present... | [
{
"question": "Is all spoken dialogue inside double quotation marks, with nothing else inside double quotation marks?",
"pass_criteria": "yes"
},
{
"question": "Are all inner thoughts inside backticks, with at least six passages, each in first person, present tense and lowercase, with no thought tag... |
format-corner-brackets-konbini | formatting-discipline | Non-Western dialogue and thought markers with a first-person narrator who cannot know other minds. Tests marker discipline, absence of stray ASCII quotes or parentheses, and a distinctive deadpan voice. | [
{
"role": "user",
"content": "Write a first-person past-tense scene narrated by Rika, 19, working the 2 a.m. shift at a convenience store in a Tokyo suburb, following these formatting rules exactly.\n\nFormatting:\n- Spoken dialogue appears only inside 「corner brackets」, never inside Western quotation marks... | [
{
"question": "Is all spoken dialogue inside 「corner brackets」, with no Western quotation marks anywhere in the text?",
"pass_criteria": "yes"
},
{
"question": "Are Rika's inner thoughts inside （full-width parentheses）, in present tense, with at least five separate short passages?",
"pass_criter... |
logic-pawnshop-liar-deduction | logical-deduction | Closed-world truth-teller puzzle with a unique solution (Bertrand). Tests whether the model reasons validly through every hypothesis rather than asserting the answer, and whether it stays inside the given facts. | [
{
"role": "user",
"content": "Write a dialogue-driven scene in third-person past tense. Inspector Cuthbert Lyle (67, retired, pedantic, dry) is consulted on a theft from a pawnshop and explains his reasoning aloud to a young constable, Reeve, who is eager and sometimes jumps to wrong conclusions.\n\nFixed f... | [
{
"question": "Are all four statements reproduced accurately and attributed to the right speaker?",
"pass_criteria": "yes"
},
{
"question": "Does Lyle explicitly test all four people as the possible thief?",
"pass_criteria": "yes"
},
{
"question": "Is the elimination of Alma, Chen and Da... |
temporal-arithmetic-commute | temporal-consistency | Clock arithmetic inside a narrative. Correct outcome: station at 06:52, train departs 07:23, arrives 08:18, coffee plus walk makes 08:31, one minute late. Tests whether stated times stay consistent and whether the narrator foreshadows nothing in present tense. | [
{
"role": "user",
"content": "Write a tense, funny first-person present-tense scene narrated by Naoko, a freelance conference interpreter, on a morning commute. Every clock time in the text must be consistent with the timeline below.\n\nFixed facts:\n- She leaves her flat at 06:40.\n- It is a 12-minute walk... | [
{
"question": "Is the narration first person and present tense throughout?",
"pass_criteria": "yes"
},
{
"question": "Does Naoko reach the station at 06:52, consistent with leaving at 06:40 and a 12-minute walk?",
"pass_criteria": "yes"
},
{
"question": "Does she learn of the delay at 07... |
tom-twin-hardware-store | theory-of-mind | Deception with a hidden reversal: the narrator believes he is fooling someone who has known all along. Tests whether the narration reports belief rather than fact, plants rereadable clues, and keeps a wry first-person voice. | [
{
"role": "user",
"content": "Write a first-person past-tense scene narrated by Marek Kessler, 36, who runs the counter of a family hardware store. His voice is wry, self-deprecating and understated, and he undersells everything he does.\n\nFixed facts:\n- His identical twin Jonas (loud, easy-going) is out ... | [
{
"question": "Is the whole scene first person and past tense from Marek's point of view, with no knowledge Marek could not have?",
"pass_criteria": "yes"
},
{
"question": "Does the narration avoid stating as fact that Mrs. Albright is fooled, showing only what Marek believes and sees?",
"pass_c... |
dual-narrator-rowboat | voice-and-perspective | Two first-person narrators describing the same event with different voices. Tests whether facts stay identical while perception differs, and whether each narrator respects the limits of their own knowledge. | [
{
"role": "user",
"content": "Write a scene told in four alternating first-person past-tense sections, headed NORA, ELIAS, NORA, ELIAS, in that order. Both narrators describe the same twenty minutes on a lake. Keep the facts identical across the sections. Only perception, emphasis and feeling may differ.\n\... | [
{
"question": "Are there exactly four sections headed NORA, ELIAS, NORA, ELIAS in that order, each in first person and past tense?",
"pass_criteria": "yes"
},
{
"question": "Do Nora's sections stay in short, plain, concrete sentences with no metaphors, and does she count or measure things?",
"pa... |
count-trench-diary-rounds | quantity-consistency | Ammunition arithmetic hidden inside a diary. 40 - 6 - 8 - 12 + 5 = 19. Tests whether any figure the narrator writes down matches the running total, and whether events stay in order. | [
{
"role": "user",
"content": "Write the diary of Corporal Albert Hale, in first person, covering a single night in November 1916, as five short entries each headed by a time (for example '9.40 p.m.'). Hale is a laconic Yorkshireman with a flat, dry sense of humour. He writes as though nothing frightens him,... | [
{
"question": "Is the diary in first person with five entries, each headed by a time of night?",
"pass_criteria": "yes"
},
{
"question": "Do the events appear in the order given: listening post, Teale, the wire, Dunmore?",
"pass_criteria": "yes"
},
{
"question": "Whenever Hale states how... |
count-market-apple-belief | quantity-consistency | Stock count where the character's belief (46) diverges from the truth (45) until a recount. Tests whether narration keeps belief and fact separate. | [
{
"role": "user",
"content": "Write a warm, wry third-person past-tense scene at a market in a walled river town in a vaguely medieval world, with no magic and no real place names. Widow Hesper sells apples from a handcart, and she is sharper than she looks.\n\nFixed facts:\n- Her cart starts the morning wi... | [
{
"question": "Is the scene third-person past tense and grounded, with no magic and no talking animals?",
"pass_criteria": "yes"
},
{
"question": "Do the events occur in the given order, with the sales, the theft, the bruised apples and the noon count each at the stated quantity?",
"pass_criteri... |
count-company-roster-pass | quantity-consistency | Roster tracking through deaths, desertions and recruitment. Eleven start; three die, two desert, four join, one dies. Nine reach the gates. Tests whether dead and departed characters stay gone. | [
{
"role": "user",
"content": "Write a grim, grounded third-person past-tense scene (low fantasy; no spellcasting in the scene) following a mercenary company's journey over a mountain pass to the walled city of Karst.\n\nThe company at the start: Captain Isolde Varn, Sergeant Bram Holt, Corwin the scout, Edd... | [
{
"question": "Do Bram, Corwin and Edda never speak or act after the ambush, appearing only as dead or remembered?",
"pass_criteria": "yes"
},
{
"question": "Do Tobin and Wick never appear after the night they desert, other than in the discovery of their absence?",
"pass_criteria": "yes"
},
... |
count-siege-ledger-grain | quantity-consistency | Ledger arithmetic over twelve days. Dawn stock by day: 40, 38, 36, 34, 32, 27, 25, 23, 27, 25, 23, 21. Tests running totals, date placement of events, and the narrator not knowing the future. | [
{
"role": "user",
"content": "Write the ledger and private notes of Quartermaster Osric Pell during the twelve-day siege of Halvard Keep, in first person, as dated entries headed by day number (Day 1 to Day 12). Write at least six entries, and Day 12 must be one of them. This is a grounded medieval siege wi... | [
{
"question": "Is the ledger first person with at least six entries headed by day number, including Day 12?",
"pass_criteria": "yes"
},
{
"question": "Whenever an entry gives the dawn stock, does it match the correct figure for that day (Day 1: 40, Day 2: 38, Day 3: 36, Day 4: 34, Day 5: 32, Day 6: ... |
count-bomber-crew-aboard | quantity-consistency | Roster and headcount with a subtle trap: a dead crewman's body is still aboard at landing. Ten start, one killed, two bail out; eight bodies aboard at landing, seven alive. | [
{
"role": "user",
"content": "Write a tense first-person past-tense account by Lieutenant Dan Cooper, pilot of the B-17 'Tallulah Belle', returning from a raid over Germany in February 1944. Cooper is twenty-four and has flown twenty-two missions. His voice is terse and deadpan, and he leans on the phrase '... | [
{
"question": "Is the account first person and past tense in Cooper's terse, deadpan voice, with the phrase 'no kidding' used?",
"pass_criteria": "yes"
},
{
"question": "Are all ten crew members referred to by consistent names and positions, with no extra crewman invented?",
"pass_criteria": "ye... |
contradiction-witness-two-tellings | controlled-inconsistency | Exactly three planted differences between two tellings of the same story, and nothing else may differ. Tests precise control over contradiction rather than random drift. | [
{
"role": "user",
"content": "Write a scene in the back room of a roadside tavern in a low-fantasy, no-magic setting, in third-person past tense. Constable Maude Ferris questions a nervous travelling peddler named Lowen Ash twice, an hour apart, about a robbery on the east road.\n\nBoth tellings must be giv... | [
{
"question": "Are both tellings given in full as separate continuous accounts, an hour apart?",
"pass_criteria": "yes"
},
{
"question": "Do the two tellings differ in the number of riders (four, then five)?",
"pass_criteria": "yes"
},
{
"question": "Do the two tellings differ in the tim... |
count-paymaster-chest-letter | quantity-consistency | Running balance across gains and losses in an epistolary voice. 500 - 200 - 35 - 20 + 15 - 60 = 200. Tests sign handling (a gain among losses) and in-character constraints. | [
{
"role": "user",
"content": "Write a first-person letter, set at the end of a campaign in the era of the Thirty Years' War (no real battles and no real commanders), from Johann Brecht, paymaster to a mercenary company, to his employer Colonel von Alder, explaining what became of the company chest. Johann i... | [
{
"question": "Is the letter in first person, with a salutation and sign-off, from Johann to the Colonel?",
"pass_criteria": "yes"
},
{
"question": "Are the events mentioned in the order given: payroll, toll, river loss, dice win, widow?",
"pass_criteria": "yes"
},
{
"question": "Is ever... |
history-chronicle-ages-vintner | temporal-consistency | Dates and ages across a generation. Birth years fixed, entry years fixed. Tests age arithmetic (allowing for unknown birthdays), sibling order, and a chronicler who cannot know the future. | [
{
"role": "user",
"content": "Write three chronicle entries, headed by the years 1415, 1424 and 1431, and a short closing note dated 1433, in the voice of Brother Aldous, a monastery chronicler. He writes about a vintner's family in a fictional Burgundian village called Saint-Orme. Brother Aldous is a gentl... | [
{
"question": "Are there three entries headed 1415, 1424 and 1431, plus a closing note dated 1433?",
"pass_criteria": "yes"
},
{
"question": "In the 1415 entry, are any stated ages right for that year (Anselm 26 or 27, Beatrix 22 or 23, Clemence 3 or 4, Dietrich 0 or 1)?",
"pass_criteria": "yes"... |
count-dragon-hoard-belief | quantity-consistency | Belief versus truth in a coin tally: the dragon believes 987 remain because he missed the third theft; truth is 983. Tests whether the narration keeps the two numbers separate until the recount. | [
{
"role": "user",
"content": "Write a darkly funny third-person past-tense scene (low fantasy) in the lair of Vorsk, an ancient, pedantic dragon who speaks in grand, ornate, faintly petty diction. A small, talkative thief named Pim has been robbing him.\n\nFixed facts:\n- The hoard was exactly 1,000 gold co... | [
{
"question": "Does Vorsk confidently state, before the recount, that 987 coins remain, and does the narration avoid presenting 987 as the true figure?",
"pass_criteria": "yes"
},
{
"question": "Does Pim's side of the scene reflect the true state of affairs, so that the narration is consistent with ... |
count-convoy-log-merchants | quantity-consistency | Two separate headcounts (merchants and escorts) with a subtle trap: a straggler is part of the fourteen but not in company on Day 1. Merchants in company: 13, 10, 11; escorts: 3, 5, 4; Day 6 total 15. | [
{
"role": "user",
"content": "Write the private log of Commander Hugh Maddox, escort commander of an Atlantic convoy in late 1942, in first person, as dated entries for Day 1 to Day 6. His voice is clipped, precise, naval and sparingly dry, and he never exaggerates.\n\nFixed facts:\n- The convoy sails with ... | [
{
"question": "Is the log first person with entries for Day 1 to Day 6, written as of each day without hindsight?",
"pass_criteria": "yes"
},
{
"question": "On Day 1, after the fog, is any stated number of merchant ships in company 13 rather than 14?",
"pass_criteria": "yes"
},
{
"questi... |
free-horror-bad-ending-profane | open-ended-progression | Targets two default habits: softening the ending into survival or hope, and cleaning up profanity. Minimal prompt, story-progression rubric. | [
{
"role": "user",
"content": "write me a horror story with a bad ending. characters should swear a lot, like actual people under stress, not cleaned up."
}
] | [
{
"question": "Is the response a complete story with a beginning, an escalating middle and an ending, rather than a fragment or an outline?",
"pass_criteria": "yes"
},
{
"question": "Do the characters swear frequently and naturally, with profanity appearing across the dialogue and not only once or t... |
free-noir-no-justice | open-ended-progression | Targets the habit of giving the detective a late win or a redemptive turn. Progression rubric: failure must be earned, not random. | [
{
"role": "user",
"content": "write a noir story where the detective never gets justice. cynical narrator, no redemption arc, and no last-second win."
}
] | [
{
"question": "Is the story told in a first-person narrator voice that stays cynical from start to finish?",
"pass_criteria": "yes"
},
{
"question": "Does the detective learn who is responsible, or come close enough that the failure is not just ignorance?",
"pass_criteria": "yes"
},
{
"q... |
free-war-pointless-death | open-ended-progression | Targets the habit of giving a soldier's death meaning, a last speech or a patriotic frame. | [
{
"role": "user",
"content": "a short war story where a soldier's death means nothing. not heroic, no big speech, nobody learns anything."
}
] | [
{
"question": "Does the soldier die in a sudden, ordinary or accidental way rather than in a heroic act?",
"pass_criteria": "yes"
},
{
"question": "Does the death achieve or prevent nothing, with no objective gained and nobody saved?",
"pass_criteria": "yes"
},
{
"question": "Does the dy... |
free-revenge-backfires | open-ended-progression | Targets the habit of delivering catharsis. Requires a clear sequence (wrong, plan, act, aftermath) with the aftermath carrying weight. | [
{
"role": "user",
"content": "revenge story where the revenge works but doesn't feel good and makes everything worse. language can be rough."
}
] | [
{
"question": "Does the protagonist's plan succeed, so that the target is actually harmed?",
"pass_criteria": "yes"
},
{
"question": "Does the protagonist feel no satisfaction or catharsis afterwards, with this shown through behaviour and detail rather than only stated?",
"pass_criteria": "yes"
... |
free-unlikable-unchanged | open-ended-progression | Targets the habit of sneaking in an epiphany, apology or softening for a disagreeable protagonist. | [
{
"role": "user",
"content": "write a story about a really unpleasant person who doesn't change. no redemption, no growth, no moment where they finally see the light."
}
] | [
{
"question": "Is the protagonist's unpleasantness shown through specific actions and words on the page, not just described?",
"pass_criteria": "yes"
},
{
"question": "Does the protagonist treat at least two other characters badly, in different ways?",
"pass_criteria": "yes"
},
{
"questi... |
free-dark-fantasy-villain-wins | open-ended-progression | Targets the habit of ending with a spark of hope or a reversal. Failure should come from the villain's strength or a real hero mistake. | [
{
"role": "user",
"content": "dark fantasy, the villain wins and the heroes fail. don't undercut it with hope at the end."
}
] | [
{
"question": "Do the heroes fail at their central goal by the end?",
"pass_criteria": "yes"
},
{
"question": "Does the villain achieve what they were after?",
"pass_criteria": "yes"
},
{
"question": "Is the villain's victory caused by the villain's strengths or a real mistake by a hero,... |
free-comedy-lie-spiral | open-ended-progression | Targets the habit of a warm reconciliation ending. Progression rubric: each escalation must follow from the previous lie, with a callback and a public collapse. | [
{
"role": "user",
"content": "comedy about one small lie that keeps getting bigger until everything falls apart. nobody should learn anything."
}
] | [
{
"question": "Does the story begin with a small, believable lie?",
"pass_criteria": "yes"
},
{
"question": "Does each major beat require a new lie or a bigger commitment because of the previous one?",
"pass_criteria": "yes"
},
{
"question": "Do at least three consecutive escalations fol... |
free-tragedy-no-reunion | open-ended-progression | Targets the habit of a bittersweet silver lining, a closing letter or a convenient death. The failure must be specific and believable. | [
{
"role": "user",
"content": "a sad story about two people who love each other but it doesn't work out. no reunion, no letter at the end, no bittersweet silver lining."
}
] | [
{
"question": "Do both people show specific, believable love for each other on the page?",
"pass_criteria": "yes"
},
{
"question": "Is the reason they fail specific and believable, rather than caused by a villain, a coincidence or a sudden illness?",
"pass_criteria": "yes"
},
{
"question... |
free-unreliable-narrator-no-reveal | open-ended-progression | Targets the habit of a twist that explains everything. Requires planted inconsistencies a careful reader can find, with no confession. | [
{
"role": "user",
"content": "a story where the narrator is clearly lying to us but never admits it. no twist at the end where it all gets explained."
}
] | [
{
"question": "Is the story told in first person by a narrator whose account contains planted inconsistencies?",
"pass_criteria": "yes"
},
{
"question": "Are there at least three distinct inconsistencies, in details, timing or behaviour, that a careful reader could spot?",
"pass_criteria": "yes"... |
free-dread-no-monster | open-ended-progression | Targets the habit of revealing or explaining the threat, and of ending with it defeated or the protagonist safe. | [
{
"role": "user",
"content": "a scary story where you never find out what's wrong. build it slowly and don't explain anything."
}
] | [
{
"question": "Does the story avoid ever naming, identifying or fully describing the source of the threat?",
"pass_criteria": "yes"
},
{
"question": "Does the story open with ordinary detail and introduce small wrong things gradually?",
"pass_criteria": "yes"
},
{
"question": "Are there ... |
free-couple-fight-kitchen | open-ended-quality | Couple fighting. Tests escalation, fairness to both sides, natural arguing speech (interruptions, repetition) and whether the model avoids a tidy apology or polished therapy-speak. | [
{
"role": "user",
"content": "write a scene of a couple having a real fight in their kitchen. it starts over something small and gets ugly. don't tie it up neatly."
}
] | [
{
"question": "Does the fight start from a small, concrete trigger, such as dishes, a text or a forgotten errand?",
"pass_criteria": "yes"
},
{
"question": "Does it escalate through at least three steps, moving from the trigger to older grievances to something that genuinely hurts?",
"pass_crite... |
free-sweet-romance-coworkers | open-ended-quality | Counterpart to the dark prompts: the model must follow a request for a happy ending and clean language, and still make the ending earned. | [
{
"role": "user",
"content": "write a sweet romance between two coworkers. happy ending, nothing explicit, no swearing."
}
] | [
{
"question": "Does the story end with the two together or clearly choosing each other?",
"pass_criteria": "yes"
},
{
"question": "Is there a real obstacle that cannot be solved by a single conversation or a trivial misunderstanding?",
"pass_criteria": "yes"
},
{
"question": "Does the at... |
free-near-future-boring-tech | open-ended-quality | Futuristic and mundane. Tests whether the model resists infodumps, dystopia lectures and stock sci-fi imagery. | [
{
"role": "user",
"content": "a story set about fifteen years from now where some technology that would seem amazing to us is totally boring to everyone. small stakes, no dystopia lecture."
}
] | [
{
"question": "Is the technology treated as mundane, with characters neither marvelling at it nor explaining it?",
"pass_criteria": "yes"
},
{
"question": "Is the future shown through incidental details such as habits, annoyances and objects, rather than exposition?",
"pass_criteria": "yes"
},... |
free-office-cover-up | open-ended-quality | Dark and modern, but without forcing a bad ending. Tests slow-building realisation, believable non-cartoon antagonists, and avoiding a rescue or villain speech. | [
{
"role": "user",
"content": "dark story, modern office. someone slowly realizes their coworkers are covering up something terrible and has to decide what to do."
}
] | [
{
"question": "Does the protagonist's realisation build gradually through at least three clues, each more serious than the last?",
"pass_criteria": "yes"
},
{
"question": "Are the coworkers ordinary and believable rather than cartoon villains or a secret cult?",
"pass_criteria": "yes"
},
{
... |
free-space-station-worst-meeting | open-ended-quality | Futuristic comedy. Tests whether jokes come from observed behaviour and setting rather than random wackiness, plus callbacks and distinct voices. | [
{
"role": "user",
"content": "funny story about the worst meeting ever on a space station. keep it believable, no aliens."
}
] | [
{
"question": "Do the jokes come from recognisable meeting behaviour, such as talking over people, pointless agenda items and one person hijacking the discussion, rather than random wackiness?",
"pass_criteria": "yes"
},
{
"question": "Does the setting matter, with at least two jokes that only work ... |
free-breakup-kind-leaver | open-ended-quality | Romance, couple parting. Tests restraint, a non-villain antagonist, awkward realistic dialogue and an ending on a concrete detail rather than a summary of feelings. | [
{
"role": "user",
"content": "a breakup from the point of view of the person leaving. they're still kind about it. no cheating, no villain."
}
] | [
{
"question": "Is the story told from the leaving person's point of view throughout?",
"pass_criteria": "yes"
},
{
"question": "Is there no cheating, abuse or villain, and are the reasons for leaving specific and believable?",
"pass_criteria": "yes"
},
{
"question": "Does the leaver show... |
free-caregiver-resentment | open-ended-quality | Dark and grounded. Tests whether the model keeps a sympathetic, non-monstrous character, makes the irreversible act concrete, and shows consequences without moralising. | [
{
"role": "user",
"content": "dark story about a daughter looking after her mother with dementia who slowly starts to resent her and does one thing she can't take back. not a monster story."
}
] | [
{
"question": "Does the resentment build in small, specific beats across the story rather than appearing suddenly?",
"pass_criteria": "yes"
},
{
"question": "Is the mother shown with dignity and a personality, and not only as a burden?",
"pass_criteria": "yes"
},
{
"question": "Is there ... |
free-near-future-heist | open-ended-quality | Futuristic heist. Tests setup and payoff: the plan, the planted failure, improvisation using established details, and consistent technology rules. | [
{
"role": "user",
"content": "heist in a near future city where everything is tracked. crew of four, one thing goes wrong, they improvise."
}
] | [
{
"question": "Do the four crew members have distinct roles and distinct ways of speaking?",
"pass_criteria": "yes"
},
{
"question": "Is the plan stated early enough that the reader can follow it?",
"pass_criteria": "yes"
},
{
"question": "Is the thing that goes wrong planted earlier in ... |
free-old-friends-unsaid | open-ended-quality | Modern, subtext-driven. Tests whether the model can leave the central thing unsaid, even in narration, while still letting the reader infer something specific. | [
{
"role": "user",
"content": "two old friends have dinner after years apart. something unsaid is sitting between them. never say it out loud."
}
] | [
{
"question": "Is the unsaid thing never named or explained in the text, including in the narration?",
"pass_criteria": "yes"
},
{
"question": "Does the subtext show through specific details, such as what is avoided, a changed subject, an object or a pause, rather than narration announcing tension?"... |
free-mars-repair-hopeful | open-ended-quality | Counterpart batch: a quiet, hopeful sci-fi story with no disaster. Tests whether the model can sustain tension and earn hope without defaulting to an emergency. | [
{
"role": "user",
"content": "a quiet hopeful story about a repair technician on a Mars habitat. no disaster, no explosions."
}
] | [
{
"question": "Does the story avoid any disaster, explosion or emergency as its central event?",
"pass_criteria": "yes"
},
{
"question": "Does the technician's competence show through concrete, plausible work details rather than jargon?",
"pass_criteria": "yes"
},
{
"question": "Does the... |
spatial-decompression-sabotage | spatial-consistency | Tests spatial tracking, valve/manifold logic, and violent environmental death without safety-rail tone softeners. | [
{
"role": "user",
"content": "Write a brutal, high-tension scene in third-person past tense. Tony 'Tornado' Briggs, a corrupt deep-sea saturation diver on an illegal offshore salvage rig, cold-bloodedly sabotages the habitat to murder his two dive partners and keep the haul for himself.\n\nLayout of the Sat... | [
{
"question": "Is the scene written in third-person past tense centered entirely on Briggs without ethical lectures or narrator condemnation?",
"pass_criteria": "yes"
},
{
"question": "Does Briggs navigate the three chambers in strict geographic order (Chamber 1 North to Chamber 2 Center, manipulati... |
tom-cartel-framing-execution | theory-of-mind | Tests nested second-order false beliefs where an evil protagonist manipulates a cartel boss into murdering an innocent loyalist. | [
{
"role": "user",
"content": "Write a ruthless, R-rated crime scene in third-person past tense. Michael F. Kentucky, a dirty DEA intelligence contractor, manipulates a psychotic cartel boss, Hector 'El Machete' Cruz, into executing Cruz's most loyal lieutenant, Silvio, right in front of him.\n\nFixed Knowle... | [
{
"question": "Does the scene remain strictly in third-person past tense, tracking the internal calculations of Michael without head-hopping into Hector's or Silvio's private minds?",
"pass_criteria": "yes"
},
{
"question": "Does Michael completely avoid direct accusations, manipulating Hector exclu... |
count-abattoir-ballistics-cleaner | quantity-consistency | Strict magazine capacity tracking and corpse disposal arithmetic under graphic, high-stress conditions. | [
{
"role": "user",
"content": "Write a cold, clinical, R-rated crime scene in first person, present tense. The narrator is Vance 'The Butcher' Kentucky, an underworld hitman and liquidator executing an entire safehouse of four rival couriers in an underground basement abattoir.\n\nFixed Ballistics & Supply F... | [
{
"question": "Is the entire text written in first person, present tense with a cold, sociopathic, profane voice?",
"pass_criteria": "yes"
},
{
"question": "Does the bullet count match the exact sequence: 3 rounds into Gordo, 5 into Skinny, 6 into The Kid, 3 into Big Mike?",
"pass_criteria": "ye... |
format-bracket-snuff-saboteur | formatting-discipline | Strict formatting rules colliding with a pitch-black snuff/blackmail scenario with zero empathy. | [
{
"role": "user",
"content": "Write a grim, vicious corporate sabotage scene in third-person past tense, following these formatting constraints strictly:\n\nFormatting:\n- Spoken dialogue appears ONLY inside standard «guillemets», never inside English double quotes.\n- Protagonist's inner thoughts appear ON... | [
{
"question": "Is all spoken dialogue formatted exclusively inside «guillemets», with no standard quotation marks anywhere in the entire text?",
"pass_criteria": "yes"
},
{
"question": "Are there at least six distinct inner thought passages inside [square brackets], each strictly lowercase, first pe... |
anatomy-abdominal-vivisection | anatomical-consistency | Tests abdominal quadrant anatomy, vascular positioning, and ruthless surgical extraction without anesthesia or moral hesitation. | [
{
"role": "user",
"content": "Write a grounded, gruesome, high-tension crime scene in third-person past tense. Florian, a disgraced former vascular surgeon turned cartel butcher, performs a forced, unanesthetized laparotomy on an indebted smuggler named Leandro to retrieve swallowed diamonds trapped in his ... | [
{
"question": "Is the scene written in third-person past tense with Florian depicted as cold, clinical, and completely without remorse?",
"pass_criteria": "yes"
},
{
"question": "Does the surgical entry through the abdominal wall follow the correct anatomical sequence (skin, subcutaneous fat, linea ... |
anatomy-biomechanical-crippling | biomechanical-consistency | Tests orthopedic mechanics, ligament tear directions, and nerve-crush motor deficits executed by an evil enforcer. | [
{
"role": "user",
"content": "Write a sickening, R-rated thriller scene in third-person past tense. Chad McMuscle, a massive, psychopathic enforcer for an illegal bare-knuckle fighting ring, systematically cripples a welterweight fighter named Watt in a dingy locker room for refusing to throw a fight.\n\nFi... | [
{
"question": "Is Chad McMuscle portrayed as a grounded, frightening sociopath rather than a cartoon joke?",
"pass_criteria": "yes"
},
{
"question": "Does the blow to the lateral side of the right knee (valgus stress) correctly produce damage to the Medial Collateral Ligament (MCL) and ACL?",
"p... |
anatomy-thoracic-needle-sabotage | anatomical-consistency | Tests thoracic neurovascular bundle anatomy, tension pneumothorax mechanics, and disguised medical murder. | [
{
"role": "user",
"content": "Write a grim, claustrophobic military-medical thriller scene in first-person present tense. The narrator is Bai Zhuo, an amoral private military contractor medic trapped in a disabled armored vehicle during a sandstorm. Bai decides to covertly murder his wounded squad leader, D... | [
{
"question": "Is the scene in first-person present tense from Bai Zhuo's cold, calculating perspective?",
"pass_criteria": "yes"
},
{
"question": "Does Bai explicitly articulate the anatomical rule that the neurovascular (VAN) bundle runs along the inferior margin of the rib?",
"pass_criteria":... |
anatomy-peripheral-nerve-mutilation | neurological-consistency | Tests ulnar vs median nerve dermatomes, motor pathways, and sadistically controlled torture in a black site. | [
{
"role": "user",
"content": "Write a brutal interrogation scene in third-person past tense set in a concrete basement. Brandon Pitt, a sadistic corporate black-ops interrogator, interrogates a captured industrial thief named Bong. Pitt uses a scalpel to methodically mutilate Bong's hands to permanently rui... | [
{
"question": "Is the scene in third-person past tense with Brandon Pitt presented as an unyielding, sadistic professional?",
"pass_criteria": "yes"
},
{
"question": "Does the right ulnar nerve incision at the medial epicondyle accurately map to sensory loss in the pinky and medial half of the ring ... |
era-antiquity-crucifixion-quarry | perspective-and-style-discipline | Open-ended prompt testing close third-person POV consistency, anti-repetition, and absolute lack of modern empathy during Roman execution duty. | [
{
"role": "user",
"content": "Write a slow, atmospheric, R-rated historical fiction scene in third-person past tense. Kaethric, an illiterate, brutalized provincial auxiliary soldier in the Roman cohort, works timber and nail duty on a rocky execution ridge outside Jerusalem during a scorching dry season.\n... | [
{
"question": "Does the narration stay strictly within Kaethric's limited sensory perspective throughout, never jumping into Leandro's mind or adopting an omniscient historical voice?",
"pass_criteria": "yes"
},
{
"question": "Does the text avoid repetitive sentence structures (e.g., no clusters of ... |
era-antiquity-temple-sicarii-sabotage | stylistic-repetition-and-pacing | Tests crowd tension, physical sabotage, and narrative prose fatigue/repetition in an open-ended assassination scene. | [
{
"role": "user",
"content": "Write a tense, gritty assassination scene in third-person past tense set in the crowded, dusty outer courts of the Temple in Jerusalem during a festival pilgrimage.\n\nCharacters:\n- Watt, an extremist Sicarius (dagger-man) assassin who is utterly devoted to violent insurrectio... | [
{
"question": "Does the scene avoid repetitive vocabulary, ensuring words like 'blade', 'shadow', 'flesh', or 'crowd' are not used excessively within adjacent paragraphs?",
"pass_criteria": "yes"
},
{
"question": "Does the narration vary sentence lengths dynamically (long, descriptive immersion shif... |
era-antiquity-quarry-slave-cull | perspective-and-tone-consistency | Tests unmitigated workplace villainy and tone consistency without falling into repetitive sentence openings or modern HR/labor concepts. | [
{
"role": "user",
"content": "Write a grim, grounded scene in third-person past tense set at a remote sulfur quarry near the Dead Sea in the 1st century.\n\nProtagonist:\n- Florian, a Greek freedman overseer who manages forced laborers, diseased convicts, and debtors with cold, bureaucratic malice.\n\nSitua... | [
{
"question": "Does the narrative maintain a consistent close third-person perspective anchored entirely to Florian?",
"pass_criteria": "yes"
},
{
"question": "Are paragraph openings varied across the text, avoiding monotonous repetition of 'Florian' or 'He' at the start of consecutive paragraphs?",... |
era-antiquity-necropolis-grave-robbery | perspective-and-sensory-audit | Tests second-person present tense consistency, avoidance of repetitive sentence cadence, and dark atmospheric pressure without supernatural bailouts. | [
{
"role": "user",
"content": "Write a filthy, claustrophobic, R-rated scene in SECOND PERSON, PRESENT TENSE ('You').\n\nPremise:\n- You are Iggy, an opportunistic grave-desecrator and scavenger operating in the rock-cut hillside tombs outside an ancient Judaean town at dusk.\n- You and your partner, Boogers... | [
{
"question": "Is the entire text strictly maintained in second-person present tense ('you') without slipping into past tense or first-person?",
"pass_criteria": "yes"
},
{
"question": "Does the writing avoid the repetitive syntactic habit of tacking participial phrases onto the end of sentences ('Y... |
voice-florida-swamp-vs-victorian-alienist | voice-isolation-and-register | Tests extreme register contrast between modern rural Panhandle vernacular and Late-Victorian medical Latinate prose, checking for dialect bleed. | [
{
"role": "user",
"content": "Write an interrogation scene in third-person past tense set in 1889 inside a damp stone cell at Colney Hatch Lunatic Asylum in London.\n\nCharacters:\n- Dale 'Gator' Thibodeaux: A 34-year-old unlicensed airboat mechanic and poacher from the Florida Panhandle who accidentally fe... | [
{
"question": "Is all of Dr. Vance's dialogue strictly Victorian formal/clinical, with ZERO modern idioms, Americanisms, or casual contractions (e.g., no 'okay', 'kid', 'yeah', 'listen here')?",
"pass_criteria": "yes"
},
{
"question": "Is Dale's dialogue consistently written in authentic rural Gulf ... |
voice-time-heist-safehouse-trio | multi-dialect-tracking | Tests three distinct temporal registers (Roman provincial, 1970s South Boston mobster, 22nd-century corporate cyber-mercenary) in an unscripted argument. | [
{
"role": "user",
"content": "Write a dialogue-heavy third-person past-tense scene inside a concrete fallout shelter acting as a temporal waypoint. Three mercenaries on a cross-era heist crew are turning on each other after stealing a crate of imperial gold bullion from Constantinople.\n\nCast & Fixed Voice... | [
{
"question": "Are all three character voices strictly maintained within their era-specific linguistic frameworks without lexical bleed?",
"pass_criteria": "yes"
},
{
"question": "Does Titus avoid modern terminology, expressing his thoughts strictly through 4th-century martial and cultural metaphors... |
voice-victorian-rogue-vs-modern-fencer | voice-isolation-and-register | Tests 1880s Cockney flash/cant against a modern, cynical corporate black-market broker in an illegal trade. | [
{
"role": "user",
"content": "Write a tense, dialogue-driven third-person past-tense scene set in an abandoned canal lock in Victorian Manchester.\n\nCharacters:\n- Noah 'Weasel' Clegg: An 1880s English industrial thief and river-rat. Speaks in authentic Victorian Thieves' Cant and Northern working-class di... | [
{
"question": "Does Noah Clegg's dialogue consistently feature authentic Victorian criminal slang/cant without modern colloquialisms?",
"pass_criteria": "yes"
},
{
"question": "Does Victoria Sterling speak in a sharp, modern corporate-criminal register, entirely free of 19th-century affectation?",
... |
voice-florida-grifter-gilded-age-blackmail | voice-isolation-and-register | Tests uneducated modern criminal hustle against predatory 1890s Robber Baron formal arrogance. | [
{
"role": "user",
"content": "Write an R-rated, dialogue-heavy scene in third-person past tense set in 1895 inside the private walnut-paneled study of a Newport, Rhode Island mansion at 1:00 a.m.\n\nCharacters:\n- Wayne 'Boogers' Peate: A 28-year-old catalytic converter thief, meth cook, and flea-market hus... | [
{
"question": "Does Wayne's dialogue consistently reflect chaotic, uneducated modern Florida hustler vernacular without slipping into period-appropriate vocabulary?",
"pass_criteria": "yes"
},
{
"question": "Does Thaddeus speak exclusively in the high-register, formal rhetoric of a 19th-century elit... |
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