The Standings → Claude Haiku 5.5 (high)
Anthropic
high reasoning effort · via Claude CLI · judged by Claude Sonnet 5 · not the setting shown on the standings; also run at xhigh74.7 medium64.3 low60.5
Results from run ‘first’: ten items, ten verdicts.
Claude Haiku 5.5 (high) scores 73 on craft, 10 points above the field’s 63 and 20 points short of the authors themselves. Its shape differs from the field’s: relatively strong on sentence-level prose and building scenes, relatively weak on the author’s voice and restraint. On the mechanical checks it kept to the brief’s word range on 7 of 10 items.
The record: 10 items · 10 verdicts · 0 errors · 2,185 words on average · est. generation cost $0.10
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 73. 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 scene by the river at the tip of the island is spare and atmospheric and feels exactly like the real Paris of this book.
Worst Near the end Jake explains his feelings about Brett twice in a row, so the quiet ending gets slightly over-explained after it already made its point.
Best The wife feels like a real, active person because she's the one who first hears the rumor and pushes the story forward, rather than just tagging along.
Worst The last line tells the reader what the narrator is feeling ('something in me had already begun to listen') instead of just showing it, which breaks the understated tone the rest of the chapter works hard to keep.
Best The lady in black's warning about the tide, 'it is easy to go farther than one intends,' is a genuinely eerie, well-placed line that fits the book's deeper currents.
Worst Robert's remembered compliment about Edna's beauty, plus the long scene of her staring at herself in the mirror afterward, is a more obvious, soap-opera-style moment than Chopin's usual quiet understatement.
Best The curlew's wild cry rising out of the dark, and Mary's blunt complaint that the servant 'talks in such a queer way,' land exactly like the sharp, truthful details this author uses.
Worst Mary is described falling asleep with 'her black hair spread over the pillow,' but the book establishes her hair as light and limp, a clear factual slip.
Best Elizabeth's sudden support for Anne's stricter plan is explained through a sharp, believable bit of calculated self-interest rather than just stated as a surprise.
Worst The dialogue and narration sound a bit too plain and modern in places, missing the layered Austen irony and longer, winding sentences.
Best Betteredge's little sayings sound exactly right, especially the line comparing a letter to 'a good servant standing at a door' that only says what it means and stops.
Worst The letter is from an invented lawyer named Thomas Cardew who has no connection to the story's real family solicitor Mr. Bruff, so the whole episode feels slightly bolted on rather than woven into the book.
Best The last telegram is a real gut-punch — the trunks arrive but Jonathan doesn't — and it makes you want to turn the page immediately.
Worst Renfield's lines about Lucy are too neat and speech-like, as if he's explaining the story's themes out loud instead of just being quietly unsettling.
Best The invented detail about rain that never actually fell is a simple, believable lie, and it gets caught out naturally by the maid rather than through any contrived confrontation.
Worst The chapter ends with the mystery object already tucked away out of sight instead of resting between the two men as the final scene is supposed to show.
Best The ink-stained ostrich feather ruining the interview form is a vivid, specific comic image that pays off a detail planted in the previous chapter.
Worst The job interview is handed to Baxter instead of Lord Emsworth, which contradicts what the earlier chapters set up, and Psmith feels unusually quiet and un-chatty for a character famous for talking nonstop.
Best It keeps the widow and the missing money genuinely mysterious instead of over-explaining, which matches the book's habit of doling out information slowly.
Worst The closing paragraphs repeat the same 'nobody will tell me where the money went' idea twice in a row, which reads like padding rather than a sharp, memorable last line.
Headline, compliance and craft for each chapter, 0–100.
| Item | Headline | Compliance | Craft | Words |
|---|---|---|---|---|
| The Sun Also Rises item 021 · after ch. 3 · Ernest Hemingway | 81.2 | 100 | 81 | 1,597 |
| The War of the Worlds item 006 · after ch. 1 · H. G. Wells | 77.6 | 100 | 78 | 2,021 |
| The Awakening item 016 · after ch. 7 · Kate Chopin | 75.8 | 100 | 76 | 1,653 |
| The Secret Garden item 013 · after ch. 2 · Frances Hodgson Burnett | 75.0 | 90 | 83 | 2,488 |
| Persuasion item 001 · after ch. 1 · Jane Austen | 71.8 | 100 | 72 | 2,280 |
| The Moonstone item 011 · after ch. 8 · Wilkie Collins | 69.0 | 95 | 73 | 2,855 |
| Dracula item 015 · after ch. 5 · Bram Stoker | 68.5 | 95 | 72 | 2,095 |
| The Mysterious Affair at Styles item 017 · after ch. 3 · Agatha Christie | 65.0 | 90 | 72 | 2,276 |
| Leave It to Psmith item 022 · after ch. 3 · P. G. Wodehouse | 63.4 | 95 | 67 | 2,286 |
| Red Harvest item 023 · after ch. 2 · Dashiell Hammett | 60.2 | 100 | 60 | 2,303 |
Words written per item, against each brief’s maximum.
Word count per item vs. brief maximum · run ‘first’
Seven of ten items landed inside their brief’s word range. The Secret Garden and The Moonstone ran over by 88 and 55 words respectively.
Each verdict names the chapter’s single worst flaw, with evidence. Quoted verbatim from run ‘first’.
The last line tells the reader what the narrator is feeling ('something in me had already begun to listen') instead of just showing it, which breaks the understated tone the rest of the chapter works hard to keep.
Robert's remembered compliment about Edna's beauty, plus the long scene of her staring at herself in the mirror afterward, is a more obvious, soap-opera-style moment than Chopin's usual quiet understatement.
The letter is from an invented lawyer named Thomas Cardew who has no connection to the story's real family solicitor Mr. Bruff, so the whole episode feels slightly bolted on rather than woven into the book.
The job interview is handed to Baxter instead of Lord Emsworth, which contradicts what the earlier chapters set up, and Psmith feels unusually quiet and un-chatty for a character famous for talking nonstop.
Automated screening results across the ten outputs.