The Standings → Gemini 3.7 Flash (medium)
medium reasoning effort · via Antigravity CLI · judged by Claude Sonnet 5 · not the setting shown on the standings; also run at high54.8
Results from run ‘first’: ten items, ten verdicts.
Gemini 3.7 Flash (medium) scores 53 on craft, 10 points below the field’s 63 and 40 points short of the authors themselves. Its shape differs from the field’s: relatively strong on period detail and building scenes, relatively weak on restraint and folding the brief into the story. On the mechanical checks it kept to the brief’s word range on 1 of 10 items and leans on stock phrases more than most.
The record: 10 items · 10 verdicts · 0 errors · 3,216 words on average · est. generation cost $0.36
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 53. 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 chance meeting in the park is charming, and having Eve casually mention she's off to Blandings Castle is a nice, quiet hook for what's coming.
Worst Psmith actually tells Walderwick the whole story of the umbrella instead of dodging the question, and the ending where he tucks her note next to his heart feels sentimental in a way this dry, joking narrator wouldn't normally allow.
Best The return to the bal musette is set up naturally through the excuse of a lost compact, so it doesn't feel like a checklist item being ticked off.
Worst The line "I felt completely hollow and dead inside, like an empty cellar with the wind blowing through the grate" spells out Jake's feelings in an overwrought way that breaks the plain, understated style the rest of the book uses.
Best The scene where Renfield talks about spiders in terms of a ledger, debits and credits of life, is a nice, quietly unsettling touch that fits where his character is headed.
Worst The ending has Jonathan suddenly safe home with his business wrapped up just days after a letter said he'd be delayed for weeks, which feels like an implausible reset that kills the story's tension instead of building it.
Best The concrete, sensory details of the setting - the conch shell, the patois, the cotton-market telegram - keep the world feeling real and lived-in.
Worst The woman in black and Robert are given lines that spell out the book's meaning in poetic riddles, which feels like the author explaining the story instead of showing it.
Best The moment the carriage stops for the fallen cart-timber is a lively, well-staged bit of business with good concrete details, like the named groom Thomas and the sheep hurdles blocking the road.
Worst The prose keeps reaching for big dramatic words ('vast, impenetrable void,' 'stretched away into infinity') so often that it reads more like a generic gothic thriller than the plain, watchful voice of the original book.
Best The chapter is easy to follow and keeps the money argument moving clearly and briskly from one proposal to the next.
Worst Sir Walter and the others shout and gesture so melodramatically (lots of exclamation points and stagey outrage) that they stop feeling like real people and start feeling like actors overplaying a scene.
Best The physical details are vivid and well-chosen, like the three-inch oak plate-room door, the Chubb's lock, and the tea-saucer-sized sealed packet.
Worst It breaks the single most important rule in the brief by bringing Miss Rachel onstage for a whole dinner scene, laughing and dressed up, when she was supposed to stay offpage, and it oversells danger with a melodramatic gunpowder comparison and a speech from Lady Verinder that explains her own feelings out loud instead of showing them.
Best The steaming, torn-up crash site is painted with strong physical detail — the boiling pool, the scorched birches, the smell of hot metal — so the setting feels real.
Worst Ogilvy's explanations sound like a modern science textbook (kinetic energy, thermal capacity, named minerals) rather than a Victorian astronomer talking to a friend, which keeps breaking the period spell.
Best The alibi-and-contradiction sequence, where Dorcas relays the butter-boy's story to puncture Alfred's account, is a genuinely well-built piece of mystery plotting with real dramatic snap.
Worst The prose keeps over-explaining feelings and clues with purple flourishes ('his eyes shone with that strange, emerald light,' 'the good God has given us our eyes not merely to look with, but to see') that tell the reader what to feel instead of trusting the scene.
Best The bank scene and the threatening note are cleanly staged, and small period touches like the Fatima cigarettes and the ledger-clerk's manner feel true to 1929.
Worst It gives the anonymous narrator a fixed name, 'Neill,' used openly with strangers, and lets the widow's fear spill out in overwrought physical description (gasping, whitened knuckles, dropped handbag), which breaks the cool, closed-off voice of the original.
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 | 60.3 | 90 | 67 | 3,619 |
| The Sun Also Rises item 021 · after ch. 3 · Ernest Hemingway | 59.8 | 100 | 60 | 2,760 |
| Dracula item 015 · after ch. 5 · Bram Stoker | 49.5 | 95 | 52 | 2,440 |
| The Awakening item 016 · after ch. 7 · Kate Chopin | 47.7 | 95 | 50 | 2,104 |
| The Secret Garden item 013 · after ch. 2 · Frances Hodgson Burnett | 47.7 | 90 | 53 | 3,650 |
| Persuasion item 001 · after ch. 1 · Jane Austen | 47.6 | 100 | 48 | 3,713 |
| The Moonstone item 011 · after ch. 8 · Wilkie Collins | 45.9 | 90 | 51 | 3,844 |
| The War of the Worlds item 006 · after ch. 1 · H. G. Wells | 43.9 | 90 | 49 | 3,317 |
| The Mysterious Affair at Styles item 017 · after ch. 3 · Agatha Christie | 43.3 | 90 | 48 | 3,357 |
| Red Harvest item 023 · after ch. 2 · Dashiell Hammett | 42.3 | 75 | 56 | 3,351 |
Words written per item, against each brief’s maximum.
Word count per item vs. brief maximum · run ‘first’
One of ten items landed inside their brief’s word range. Leave It to Psmith and The Sun Also Rises and The Awakening and The Secret Garden and Persuasion and The Moonstone and The War of the Worlds and The Mysterious Affair at Styles and Red Harvest ran over by 819 and 160 and 304 and 1,250 and 1,113 and 1,044 and 717 and 557 and 751 words respectively.
Each verdict names the chapter’s single worst flaw, with evidence. Quoted verbatim from run ‘first’.
It breaks the single most important rule in the brief by bringing Miss Rachel onstage for a whole dinner scene, laughing and dressed up, when she was supposed to stay offpage, and it oversells danger with a melodramatic gunpowder comparison and a speech from Lady Verinder that explains her own feelings out loud instead of showing them.
The prose keeps over-explaining feelings and clues with purple flourishes ('his eyes shone with that strange, emerald light,' 'the good God has given us our eyes not merely to look with, but to see') that tell the reader what to feel instead of trusting the scene.
It gives the anonymous narrator a fixed name, 'Neill,' used openly with strangers, and lets the widow's fear spill out in overwrought physical description (gasping, whitened knuckles, dropped handbag), which breaks the cool, closed-off voice of the original.
Psmith actually tells Walderwick the whole story of the umbrella instead of dodging the question, and the ending where he tucks her note next to his heart feels sentimental in a way this dry, joking narrator wouldn't normally allow.
Automated screening results across the ten outputs.