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This paper introduces "calibrated surprise," an information-theoretic metric using Shannon mutual information to quantify creative writing quality without relying on rubric scoring or RLHF. By leveraging token-level logprobs from Qwen1.5-7B, the authors demonstrate that high-quality passages systematically exhibit higher mutual information than degraded versions, effectively separating grounded creativity from pure noise. This approach offers a computable theoretical anchor for aesthetic judgment that bypasses the statistical limitations of current evaluation methods.
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Calibrated Surprise: An Information-Theoretic Account of Creative Quality

arXiv3 min read

arXiv:2604.26269v2 Announce Type: replace-cross Abstract: In the era of large language models, creative writing quality lacks a computable theoretical anchor. The dominant approaches are rubric scoring -- decomposing holistic aesthetic judgment into sub-scores -- and RLHF preference signals -- replacing quality with group votes. Both bypass the statistical structure of the text itself. This paper provides an information-theoretic foundation to fill this gap. We propose 'calibrated surprise' as the information-theoretic essence of excellent creative writing. This judgment matches reading intuition and covers its opposite. This literary judgment admits a precise mathematical formulation. Under full-dimensional constraints Y, feasible writing choices are forced into an extremely narrow space. The rare survivors are, from the unconstrained perspective, exactly the least predictable choices. Both are measured precisely by Shannon mutual information I(X;Y) = H(X) - H(X|Y) -- 'calibrated' corresponds to H(X|Y) approaching 0; 'surprising' corresponds to H(X) going high. The subtraction structure of the formula naturally separates 'well-grounded surprise' from 'pure noise'. We use token-level logprobs from Qwen1.5-7B as an operational proxy for the ideal reader's probability distribution. Across 20 pairs (12 Chinese / 8 English) of high-quality vs. systematically degraded literary passages, 20/20 pairs support the core prediction: high-quality passages have systematically higher I(X;Y) than their degraded versions.

Abstract:In the era of large language models, creative writing quality lacks a computable theoretical anchor. The dominant approaches are rubric scoring -- decomposing holistic aesthetic judgment into sub-scores -- and RLHF preference signals -- replacing quality with group votes. Both bypass the statistical structure of the text itself. This paper provides an information-theoretic foundation to fill this gap. We propose 'calibrated surprise' as the information-theoretic essence of excellent creative writing. This judgment matches reading intuition and covers its opposite. This literary judgment admits a precise mathematical formulation. Under full-dimensional constraints Y, feasible writing choices are forced into an extremely narrow space. The rare survivors are, from the unconstrained perspective, exactly the least predictable choices. Both are measured precisely by Shannon mutual information I(X;Y) = H(X) - H(X|Y) -- 'calibrated' corresponds to H(X|Y) approaching 0; 'surprising' corresponds to H(X) going high. The subtraction structure of the formula naturally separates 'well-grounded surprise' from 'pure noise'. We use token-level logprobs from Qwen1.5-7B as an operational proxy for the ideal reader's probability distribution. Across 20 pairs (12 Chinese / 8 English) of high-quality vs. systematically degraded literary passages, 20/20 pairs support the core prediction: high-quality passages have systematically higher I(X;Y) than their degraded versions.

Computation and Language (cs.CL); Artificial Intelligence (cs.AI); Machine Learning (cs.LG)

arXiv:2604.26269 [cs.CL]

(or arXiv:2604.26269v2 [cs.CL] for this version)

https://doi.org/10.48550/arXiv.2604.26269 Focus to learn more arXiv-issued DOI via DataCite

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Full text under the publisher's open licence · 299 words

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