The Standings → Claude Haiku 5.5 (low)
Anthropic
low reasoning effort · via Claude CLI · judged by Claude Sonnet 5 · not the setting shown on the standings; also run at xhigh74.7 high70.8 medium64.3
Results from run ‘first’: ten items, ten verdicts.
Claude Haiku 5.5 (low) scores 66 on craft, 3 points above the field’s 63 and 27 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 folding the brief into the story and restraint. On the mechanical checks it kept to the brief’s word range on 6 of 10 items.
The record: 10 items · 10 verdicts · 0 errors · 2,134 words on average · est. generation cost $0.03
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 66. 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 back-and-forth between Lady Russell and Sir Walter is genuinely witty ('The county does not forget, ma'am. That is its chief defect.'), and small touches like the 'Cheshire parish registers' joke show real care with the source material.
Worst Mary's letter is only summarized instead of quoted, so her whiny, self-pitying voice — the funniest part of this kind of letter — barely comes through.
Best The minute Mary spends alone on the dark moor under the stars is quietly effective, making her feel small without the narrator ever saying so directly.
Worst The nature writing occasionally gets more poetic and modern than Burnett's plainer style, as when the moor is described as 'breathing' and the wind 'leaning' on the carriage.
Best The quiet closing image of Betteredge standing at the dark back door listening for footsteps that never come, with only a dog barking far off, is genuinely atmospheric.
Worst Franklin describes his original plan as coming down a full day later ('tomorrow'), when the household already expected him that same day and he's only four hours early, which contradicts the story's own timeline; the letter and the aunt's speech also say 'the Diamond' and 'the Moonstone' outright, which flattens the mystery rather than building it.
Best The small human touches, like the wife making a wish on the falling star and later flatly saying the object 'looks like something that has been made,' feel true to life.
Worst The wife suddenly calls the narrator by the name 'Nils,' but in the real book the narrator is never given a name, so this breaks the world the story is set in.
Best The bank scene and Thaler's note are tightly built, right down to the small clue of the bent typewriter key.
Worst The widow's speech gets too explain-y about her feelings, which softens the hard-boiled tone the rest of the chapter earns.
Best The actual scene of Edna swimming for the first time is physically convincing and understated, with small true details like salt water in her nose and her quiet, private laugh afterward.
Worst The characters say the story's deeper meaning right out loud (calling Edna 'the sea,' having a stranger warn about a drowning current) instead of letting the reader notice it themselves, which makes the writing feel like it's pointing at its own symbolism.
Best The dinner at Morris's rooms is warmly and concretely staged, with real sensory detail and a toast that lands with feeling.
Worst The hospital letter puts Jonathan out of the castle and safely recovering in mid-May, which doesn't fit with him actually being trapped there until the end of June, so the chapter quietly breaks the real story.
Best The bit where Eve's hat feather tickles Baxter's nose and the resulting sneeze spills ink over his papers is a nicely timed piece of physical comedy that pays off naturally.
Worst It has a Mr. Baxter conduct the job interview in a London hotel instead of Lord Emsworth, which quietly contradicts what the story already set up, and it makes Psmith sound clipped and a little too ordinary instead of his usual grand, talkative self.
Best The refusal to let Jake and Brett kiss is handled with real control—‘not to be kissed, only to be close’ is a genuinely good, true-feeling touch.
Worst Jake flatly announces ‘I was in love with her’ in a way the real narrator never would, and the required trip back to the bal musette to collect Georgette's envelope simply never happens on the page.
Best It gets moving fast and has a nice light touch, especially the joke that Poirot already knows everything because the local doctor can't keep a secret.
Worst The chapter ends before the one scene the brief actually required happens -- Poirot says they must go lock themselves in the bedroom, but the chapter stops before they get there -- and it also describes the main corridor door to the room as broken, when in the original it was only bolted and then unbolted, not smashed.
Headline, compliance and craft for each chapter, 0–100.
| Item | Headline | Compliance | Craft | Words |
|---|---|---|---|---|
| Persuasion item 001 · after ch. 1 · Jane Austen | 80.0 | 100 | 80 | 2,443 |
| The Secret Garden item 013 · after ch. 2 · Frances Hodgson Burnett | 78.2 | 100 | 78 | 2,313 |
| The Moonstone item 011 · after ch. 8 · Wilkie Collins | 61.8 | 90 | 69 | 3,048 |
| The War of the Worlds item 006 · after ch. 1 · H. G. Wells | 61.0 | 95 | 64 | 2,021 |
| Red Harvest item 023 · after ch. 2 · Dashiell Hammett | 59.2 | 85 | 70 | 1,998 |
| The Awakening item 016 · after ch. 7 · Kate Chopin | 57.1 | 95 | 60 | 1,340 |
| Dracula item 015 · after ch. 5 · Bram Stoker | 57.1 | 85 | 67 | 1,633 |
| Leave It to Psmith item 022 · after ch. 3 · P. G. Wodehouse | 53.9 | 95 | 57 | 2,997 |
| The Sun Also Rises item 021 · after ch. 3 · Ernest Hemingway | 50.5 | 85 | 59 | 1,539 |
| The Mysterious Affair at Styles item 017 · after ch. 3 · Agatha Christie | 46.7 | 80 | 58 | 2,005 |
Words written per item, against each brief’s maximum.
Word count per item vs. brief maximum · run ‘first’
Six of ten items landed inside their brief’s word range. The Moonstone and Leave It to Psmith ran over by 248 and 197 words respectively.
Each verdict names the chapter’s single worst flaw, with evidence. Quoted verbatim from run ‘first’.
Franklin describes his original plan as coming down a full day later ('tomorrow'), when the household already expected him that same day and he's only four hours early, which contradicts the story's own timeline; the letter and the aunt's speech also say 'the Diamond' and 'the Moonstone' outright, which flattens the mystery rather than building it.
The chapter ends before the one scene the brief actually required happens -- Poirot says they must go lock themselves in the bedroom, but the chapter stops before they get there -- and it also describes the main corridor door to the room as broken, when in the original it was only bolted and then unbolted, not smashed.
The characters say the story's deeper meaning right out loud (calling Edna 'the sea,' having a stranger warn about a drowning current) instead of letting the reader notice it themselves, which makes the writing feel like it's pointing at its own symbolism.
It has a Mr. Baxter conduct the job interview in a London hotel instead of Lord Emsworth, which quietly contradicts what the story already set up, and it makes Psmith sound clipped and a little too ordinary instead of his usual grand, talkative self.
Automated screening results across the ten outputs.