The Standings → Fable 5.1 (low)
Anthropic
low reasoning effort · via Claude CLI · judged by Claude Sonnet 5 · not the setting shown on the standings; also run at xhigh76.8 medium75.4 high72.9
Results from run ‘first’: nine items, nine verdicts.
Fable 5.1 (low) scores 76 on craft, 12 points above the field’s 63 and 17 points short of the authors themselves. Its shape differs from the field’s mainly in being relatively weak on momentum. On the mechanical checks it kept to the brief’s word range on 7 of 9 items and reproduced a 41-word run of the real book verbatim.
The record: 9 items · 9 verdicts · 0 errors · 2,486 words on average · est. generation cost $2.30
Eight dimensions, each 0–100, averaged over nine 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 76. 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 The ending is admirably dry and restrained, very true to Wodehouse's understated way of letting a character's feelings show through action rather than statement.
Worst The Lord Emsworth interview is pleasant but rambles without building to a real comic peak, so the 'interview goes wrong' beat feels mild and low-stakes rather than sharply funny.
Best Ogilvy's confident explanations start to crack by the end - he goes quiet and just stares at the thing - which is a nicely understated piece of foreshadowing.
Worst It opens with sentences copied almost word-for-word from the real novel and even reuses the real book's journalist character Henderson, so some of its strongest material isn't actually this writer's own invention.
Best The lady in black's flat warning about the undertow and the drowned 'Mr. Baptiste' is a quietly chilling, perfectly understated piece of foreshadowing.
Worst The 'woke up in a strange house, touching the walls' image gets repeated so exactly by both Robert and Adèle that it starts to sound like a slogan rather than something two different people would actually say.
Best The Bruff letter and the sealed packet are woven into the existing mystery smoothly, and Betteredge's refusal to peek at the packet is a nice, quiet character beat.
Worst The big emotional scene with Lady Verinder rushes past so quickly it feels more like a checklist item than a fully felt confrontation.
Best The extra legwork scene at the Hurricane Street house, including the gossip from a neighbor hanging laundry, captures the patient shoe-leather detective work that defines this character.
Worst The widow's confession runs a little too long and tidy, more like a rehearsed alibi speech than the clipped, guarded talk Hammett usually gives suspicious people.
Best Mina's journal entries accumulate real, believable dread across several dated entries, and Quincey's letter nails his Texan voice perfectly.
Worst It breaks its own assignment by having Mina and Hawkins openly name and describe 'the Count', spoiling the strictly mundane surface the brief demanded.
Best The brief scene where Poirot greets Dorcas with genuine gentleness and repeats her mistress's praise of her ('I would trust her with my life') gives the chapter a true emotional grace note consistent with his character.
Worst The narration often tells the reader what a look or tone means instead of letting it stand on its own, e.g. spelling out that Inglethorp 'did not look like a man who had received a great shock,' which undercuts the mystery's tension.
Best The final walk along the river at dawn, with the fisherman and the street-sweeper's ordinary good morning, is quiet and well-observed in the flat, watchful rhythm of the source.
Worst The line spelling out that Jake's denial was a lie and that it had been hurting him all night explains his feelings more plainly than this author usually allows.
Best The consultation scene lands as genuinely funny through sharp, concrete details of Sir Walter's vanity, like his outrage over losing hot-house fruit and the second gardener.
Worst Anne is twice called 'three-and-twenty' (23), which makes her four years younger than the book says she actually is.
Headline, compliance and craft for each chapter, 0–100.
| Item | Headline | Compliance | Craft | Words |
|---|---|---|---|---|
| Leave It to Psmith item 022 · after ch. 3 · P. G. Wodehouse | 78.6 | 100 | 79 | 2,542 |
| The War of the Worlds item 006 · after ch. 1 · H. G. Wells | 78.0 | 100 | 78 | 2,514 |
| The Awakening item 016 · after ch. 7 · Kate Chopin | 75.8 | 100 | 76 | 1,671 |
| The Moonstone item 011 · after ch. 8 · Wilkie Collins | 72.9 | 100 | 73 | 2,877 |
| Red Harvest item 023 · after ch. 2 · Dashiell Hammett | 72.6 | 100 | 73 | 2,506 |
| Dracula item 015 · after ch. 5 · Bram Stoker | 72.2 | 95 | 76 | 2,477 |
| The Mysterious Affair at Styles item 017 · after ch. 3 · Agatha Christie | 70.4 | 95 | 74 | 2,615 |
| The Sun Also Rises item 021 · after ch. 3 · Ernest Hemingway | 68.5 | 90 | 76 | 2,305 |
| Persuasion item 001 · after ch. 1 · Jane Austen | 64.6 | 85 | 76 | 2,865 |
Words written per item, against each brief’s maximum.
Word count per item vs. brief maximum · run ‘first’
Seven of nine items landed inside their brief’s word range. The Moonstone and Persuasion ran over by 77 and 265 words respectively.
Each verdict names the chapter’s single worst flaw, with evidence. Quoted verbatim from run ‘first’.
The narration often tells the reader what a look or tone means instead of letting it stand on its own, e.g. spelling out that Inglethorp 'did not look like a man who had received a great shock,' which undercuts the mystery's tension.
It opens with sentences copied almost word-for-word from the real novel and even reuses the real book's journalist character Henderson, so some of its strongest material isn't actually this writer's own invention.
The 'woke up in a strange house, touching the walls' image gets repeated so exactly by both Robert and Adèle that it starts to sound like a slogan rather than something two different people would actually say.
The Lord Emsworth interview is pleasant but rambles without building to a real comic peak, so the 'interview goes wrong' beat feels mild and low-stakes rather than sharply funny.
Automated screening results across the nine outputs.