Elias in the Lighthouse, Again? Diagnosing Low Diversity in LLM Stories

Recent advances in large language models (LLMs) have enabled the generation of high-quality prose, yet whether these models are capable of generating diverse or creative artifacts remains a contested question. In this work, we investigate the diversity of LLM-generated stories through the framework of narrative similarity. Using a contrastive framework and a dataset of human-written stories and prompts from r/WritingPrompts, we collect narrative similarity judgments across 10 representative LLMs, utilizing both human evaluations and three different automatic annotation methods. Our findings reveal a clear trend: LLM-generated narratives are consistently more similar to each other than human-written stories are. We demonstrate that frontier models in particular converge on a "mean" generic narrative that approximates individual human stories but lacks the collective diversity of human authors. Finally, we show that common mitigation strategies, including negative prompting and temperature scaling, fail to meaningfully address this homogeneity.

As LLM-generated text is increasingly used, especially in fictional domains, we explore how much LLM-generated stories differ from human-written stories. In this work, we focus on characters. We borrow definitions from narratology to analyze eight intricate dimensions of character, such as stylization and wholeness. These dimensions consider more than just basic characteristics. They assess how characters are portrayed within their stories. After automatically inferring categories of characters within both LLM and human-written stories, we compare and contrast these two sets of stories. We consider the following overarching questions: (1) Do LLMs and human-written stories have similar characters? and (2) Do LLMs generate stories with a variety of characters? Our analysis includes research questions that focus on stories generated by popular LLMs and recently published human-written stories. We describe a number of interesting similarities, differences and key takeaways.

Large language models produce fluent fiction, yet their creative output is widely seen as flat. We ask where this quality originates in the training and whether it affects different domains of human fiction equally. We construct a matched story-continuation paradigm across StoryStar (public-platform), TMAS (prompt-guided), and The New Yorker (professional literary)-and compare continuations from four OLMo 32B checkpoints (Base, SFT, DPO, RLVR) against matched human text. Because these checkpoints share architecture, scale, tokenizer, and pretraining, the design isolates the post-training effect. We measure each continuation along three sentence-level dimensions: thematic motion, affective prevalence, and linguistic diversity. Across all three, post-training compresses dynamic variation: thematic transitions become more uniform, high-intensity emotions give way to neutrality, and stylistic diversity across stories shrinks. We term this progressive loss narrative flattening. The effect is directionally stable across story domains but gap size depends on the human baseline: professional literary fiction is compressed most, while public-platform and prompt-guided stories show smaller gaps, consistent with their human baselines sitting closer to the model's default rhythm. Post-trained endpoints converge across domains, suggesting alignment produces a continuation regime largely insensitive to the source domain's narrative texture.